Quest September 2019

$5.00 SEPTEMBER 2019

INDRÉ ROCKEFELLER AND WES GORDON AT THE SKYLARK

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128

142

134

CONTENTS Fall Fashion i ssue 112

A FASHIONABLE FORCE

Indré Rockefeller and Wes Gordon of Carolina

Herrera take a spin through the Baccarat Hotel and The Skylark rooftop bar. produced by

brooke kelly;

photographed by Julie

skarratt

124 124

CHANEL: HER LIFE, LOCATIONS, AND LEGACY

A new book explores how,

throughout her career, Coco Chanel’s designs were inspired and influenced by her homes and surroundings.

128

BROOKLYN-BORN STYLE

by

kathryn Maier

Fashion brand J.McLaughlin returns to its Brooklyn

roots—the location of the company’s origins, current headquarters, and source of inspiration—for its fall catalog.

134

QUEST STYLE

by

kathryn Maier

We take a look at the most fashionable figures and families—on

both sides of the Atlantic—over the decades.

142

FASHION’S GREATEST STAGES

by

elizabeth Meigher

A new book from photographer Simon Procter

looks back at the theatrical fashion shows staged by Karl Lagerfeld for Chanel, with 75 photographs illustrating the fashion designer’s genius. by kathryn Maier

PURDEY.COM

80

98

CONTENTS c oluMns 26

SOCIAL DIARY

80

HARRY BENSON

82

TAKI

84

FOOD AND LIFEST YLE

86

PHILANTHROPY

88

FRESH FINDS

We round up our favorite early-autumn finds. by kathryn Maier and elizabeth Meigher

92

EQUESTRIAN

Chauncey Stillman’s estate, Wethersfield, will host a carriage-driving meet. by gloria austin

98

JEWELRY

100

TRAVEL

104

REAL ESTATE

Deborah Fisher of Handsome Properties talks about the Charleston real estate market.

108

OPEN HOUSE

Houlihan Lawrence represents an extraordinary waterfront estate in Greenwich.

110

SOCIAL CALENDAR

148

YOUNG & THE GUEST LIST

152

SNAPSHOT

Three of history’s most fashionable women.

by

88

david patrick coluMbia

Jean Shrimpton, “The Face of the ’60s,” photographed at British Fashion Week.

Our columnist reminisces on summer loves of the distant past.

by

taki theodoracopulos

Our favorite pro host offers his rules for perfect entertaining.

by

a lex h itz

The French Heritage Society invites you to attend its annual Black and White Ball.

Monica Vinader’s collaboration with Caroline Issa is a solid-gold match.

We go for a ride on Bob Johnstone’s MJM 53z: a sailor’s dream.

by

by

brooke kelly

sallyanne santos

All of early autumn’s funnest fêtes and hottest happenings, from coast to coast.

Summer’s end leads to fall’s fun parties.

by

b rooke k elly

We look at dresses donned by Oscar-winning actresses over the years. by elizabeth Meigher

questmag.com EDITOR-IN-CHIEF

DAVID PATRICK COLUMBIA C R E AT I V E D I R EC TO R

JAMES STOFFEL DEPUT Y EDITOR

ELIZABETH MEIGHER SENIOR EDITOR

KATHRYN MAIER GRAPHIC DESIGNER/ PRODUCTION MANAGER

TYKISCHA JACOBS F E AT U R E S E D I TO R

BROOKE KELLY CHIEF TECHNOLOGY OFFICER

ROBERT BENDER P H OTO G R A P H E R - AT - L A R G E

JULIE SKARRATT SOCIET Y EDITOR

HILARY GEARY INTERN

NISHITA NAGA CONTRIBUTING WRITERS

HARRY BENSON KATE GUBELMANN ALEX HITZ BILL HUSTED JAMES MACGUIRE CHUCK PFEIFER LIZ SMITH (R.I.P.) TAKI THEODORACOPULOS MICHAEL THOMAS CONTRIBUTING PHOTOGRAPHERS

HARRY BENSON CAPEHART PHOTOGRAPHY BILLY FARRELL MARY HILLIARD CRISTINA MACAYA CUTTY MCGILL PATRICK MCMULLAN NICK MELE ANNIE WATT

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JED H. GARFIELD ELIZABETH STRIBLING-KIVLAN KATHY KORTE PAMELA LIEBMAN HOWARD LORBER ANDREW SAUNDERS ELIZABETH STRIBLING WILLIAM LIE ZECKENDORF © QUEST MEDIA, LLC 2019.

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PUBLISHER’S LETTER

Clockwise from left: The scene at one of George Plimpton’s parties; Wes Gordon and Indré Rockefeller at The Skylark; The Beatles arriving in America; Kevin McLaughlin, cofounder and creative director of J.McLaughlin, in the company’s headquarters

LIKE MANY OF YOU READERS, I’ve always believed that the new year begins on Labor Day, when we were once all headed back to school, and are now headed back from our summer haunts into the true sweet spot of the year—the last four months of the calendar. For New Yorkers, the autumn “reawakening” brings new exhibits, new restaurants, new theatre, and rested faces throughout our town. It’s a renewal of sorts, bringing cleareyed optimism to our daily lives and relationships.

At Quest, we’re no different. After our summer visits to Greenwich, Newport, Southampton, and Saratoga, we’re itching for our Manhattan re-entry. Throughout this September number, you’ll see fresh looks at fashion, design, and the performing arts, plus the charity and cultural scenes. And please note, dear readers, that every page reflects the creative genius of Quest’s sage savant, James Stoffel, our reticent but hugely talented creative director (quietly peering out on this page above my text).

Issue upon issue, Quest’s visual message is masterfully generated

by James’ intuitive eye and elegant sensibility; he is indeed Quest’s “secret sauce”!

Let’s begin with the cover story that features the savvy and stunning Indré Rockefeller, who has launched Paravel, a luxury luggage line that’s durable, affordable, and attractive. Indré is seen in our pages wearing selections from the fall collections of several top designers, including her friend and cover-mate, Wes Gordon, who now creates and styles the iconic line for Carolina Herrera. Our versatile features editor, Brooke Kelly, has done a terrific job pulling together these feel-good fall looks.

Our most fashionable senior editor, Kathryn Maier, reports on the new line of J.McLaughlin, a very Quest-y house that’s “Made 24 QUEST

in America” and bases its family-focused business in Brooklyn.

Says Kevin McLaughlin, the legendary creative heart and soul of “J.McL”: “Brooklyn is important to our brand…and it’s where my brother Jay and I essentially started our business.” We’re glad they did!

Rounding out our talented staff’s September effort is deputy editor Elizabeth Meigher’s always evocative “Quest Style” feature. Much like dirt, I’m old enough to remember the salon-like parties that George Plimpton used to throw in his near-collapsing townhouse at the very end of East 72nd Street.

And who of my vintage will ever forget the U.S. arrival of The Beatles, the photo above taken by Harry Benson, who like Plimpton was a member in good standing of that venerated “club” they once called Time Inc. So welcome, readers, to the new year, and thanks to those who sent kind notes about the 400 Issue. And for those who sent less-loving letters re: The 400 List, well…best to mind your manners! u

Chris Meigher

ON THE COVER: Wes Gordon, the creative director of Carolina Herrera, with Indré Rockefeller (wearing a Carolina Herrera dress) at The Skylark, photographed by Julie Skarratt.

CO R N E LL C A PA / M A G N U M P H OTO S ; J U L I E S K A R R AT T; H A R RY B E N S O N ; CO U RTE S Y O F J . M C L AU G H L I N ; CO U RTE S Y O F J A M E S S TO F F E L

with a model; Quest’s creative director, James Stoffel.

Fabio Angri Valenza Italy

D AV I D PAT R I C K C O L U M B I A

David Patrick Columbia

NEW YORK SO CIAL DIARY FASHION, THE EDITORIAL

theme for this month’s issue, is a word that defines many aspects of a society, a nation, a civilization’s culture. In our lives, it’s our apparel and our message. It is always personal for each and every one of us.

For me is something to

observe, a measure, an indicator, a personality, an essence.

As a subject, three entirely different stories come to mind: The first is Marie Antoinette,

and the second is Babe Paley.

And, of course, there was Jacqueline Kennedy Onassis, whose presence democratized.

History has amply informed

us of Queen Marie Antoinette’s extravagant lifestyle, which included anything visual that could be controlled. History has painted her image as one of silliness because of the life of a monarch of the Bourbon court.

But that was, in fact, her job: to look, dress, and act

“ R A I S I N G T H E R O O F ” W I T H T H E P R E S E R VAT I O N S O C I E T Y O F N E W P O R T AT T H E E L M S

Monique and Jimmy Coleman

26 QUEST

Tilly and Robert Matheson

Kathryn Bohannon, Fraser Maloney, Olivia Wassanaar, Joanna Baker de Neufville and Sandra Barros

Guillaume de Ramel and Bridget Beer

Elizabeth and Bill Kahane

Alice Lynch and Richard Brickley

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D AV I D PAT R I C K C O L U M B I A YO U N G F R I E N D S O F P EG GY A DA M S A N I M A L R E S C U E L E A G U E ’ S G A R D E N PA R T Y I N PA L M B E AC H

Lisa Erdman and Betsy Turner

like the queen of Versailles, the greatest palace in Europe.

Unbeknownst to her, she’d come to the throne on the edge of an historical precipice; the centuries-old monarchy was coming to a crashing end in her presence. There was one famous clue that eluded her. It was a portrait of her by Louise Elisabeth Vigee-LeBrun, painted in 1783—just six years before the fall of the throne and the French Revolution.

Vigee-LeBrun was one of the most famous and sought-after portraitists of the late 18 th century, not 28 QUEST

Stacey Leuliette and Sarah Cooke

Fritz and Judy Van der Grift

Maura Ryan and Fletcher Daves with Joe and Cassie Scheerer

only in France, but across Europe and in Russia as well under Catherine the Great.

She had painted the young queen of France several times, but her 1783 portrait of her royal subject en chemise, in muslin, was considered unacceptable, especially if you were the queen. It was considered disrespectful of the monarchy. This was absurd, but so were many things about the French monarchy at that point in its centuries-long history.

The fashion of muslin was new at the time. It had been introduced to both the

portraitist and the queen by women that French explorers brought back from Central America. The queen, who, like Vigee-LeBrun, was 28 at the time of the painting, liked the “simpler” look. Today we’d call it “younger.”

Marie Antoinette was 19 when she became queen in 1774. As a 14-year-old Austrian princess, she entered a complex political situation that she was incapable of understanding. For example, as a young girl, she ignored the style of heavy makeup and hooped skirts of her elders that were de rigueur in the court. Aside

Maggi Haigh and Tamara Soules

Bebe and Scott McCrannels with Kimi Barnett

from obvious jealousy, there was simmering outrage amongst the courtiers congregating daily at the public appearances in Les Salons de Glace.

However, at the time of the Vigee-LeBrun portrait, the use of muslin for a dress had come into vogue. It was something new to younger women whom Vigee-LeBrun had painted wearing muslin. To those courtiers rife with jealousy and conspiracy, the queen’s sitting was an unforgivable offense on her part. It was considered improper. The offended were obviously the silliness in the matter, not the

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D AV I D PAT R I C K C O L U M B I A queen. But it opened up more anti-Marie Antoinette stories about her.

After almost 10 years on the throne, she also was exercising her power in political decisions. Some of those decisions contributed to the fall of the monarchy, and Louis XVI and his queen were murdered publicly at the guillotine.

Fashion presages. The story of the portrait in muslin demonstrates an eternal truth: Fashion, or the clothes you are wearing or prefer wearing, represent the sense, the personality, the imagination of an individual in the culture and society in which we dwell.

Eleanor Lambert, the late, great fashion public relations director who created her important role marketing fashion played a major part in transforming what was always known as “the garment industry” in New York into “the fashion industry” throughout the world.

She came to the fore in the 1930s as a young woman from Indiana looking for a job as a journalist. Those were hard times in this country, but Eleanor was resourceful and creative. When war

an artist. If you were to see an ensemble of hers hung side by side on hangers, you would see a “work of art.” I tried to imagine that but without success. However, over time I’ve met or known several women who didn’t know Mrs. Paley but had seen her out in public.

Each woman was awestruck at the sight of her. Remarkably, they could all recall the moment in detail years later. Their memories were full of awe and admiration, clearly acknowledging the art of the woman.

Jacqueline Kennedy Onassis was the fashionable icon of the early 1960s who led the formal dressing

was declared in Europe, it was Eleanor who started the Best Dressed List in 1940 in the U.S., borrowing from the French, which she oversaw for the next 60 years. In her long and very prosperous career, she became an important key to the emerging success of many designers who rose to prominence in the late 1950s through the 1980s.

Eleanor saw fashion as the expression of the true self.

For example, Babe Paley, she told me, was basically

W AT E R M I L L C E N T E R ’ S A N N UA L S U M M E R B E N E F I T

Nicole Nadeau with Victoria and Luanne de Lesseps 30 QUEST

Greg Unis and David Kratz

Simon de Pury and Isabella Rossellini

Jamee Gregory

Bill Powers and Jacquelyn Jablonski

WATE R M I LL C E N TE R ; B FA

Robert Wilson

D AV I D PAT R I C K C O L U M B I A ALA VON AUERSPERG’S LUNCHEON IN NEWPORT

Bettie Pardee

Kate Gubelmann and Victoria Mele

trend. By wearing a Chanel suit, a structural Givenchy shift dress, or a soft-color Oleg Cassini coat with huge buttons, she created her elegant look. The uniqueness of her look was a universal idea of taste. She was an ideal, an everywoman.

She was only 31 when she came to the White House, a young mother, a beautiful woman who enhanced the charisma of the new president.

She garnered enormous respect and admiration of the public, and became an ideal for American women, conducting herself carefully and quietly, and always 32 QUEST

Sunny Kneissl Zweig and Susan Magrino

Sharon Wood-Prince and Leenie Beckett

impeccably turned out. She looked like a movie star in real life.

Women aspired to dress like her. Her official designer was Oleg Cassini, an American, although it was said that she privately bought from the French couturiers. She was always well turned out—and photogenic—no matter the occasion, always quietly stylish, or just plain stunning. Cassini had created a look for her that became the look for many women.

Her style blossomed into a huge marketing device for the fashion

industry. In the late 1960s, after she was married to Aristotle Onassis, she had a reputation for spending a fortune—his, of course— on clothes.

Following and imitating her choices became almost a mania. One day, in a shop on Madison Avenue, for example, she found a cashmere cardigan with a large faux fox collar.

An enterprising photographer happened to get a shot of the lady with her warm smile, wearing the sweater jacket with flannel slacks and a silk blouse.

The look was cool, casual, yet glamorous and new. The photo ran in all the papers

Ala Isham and Kimberly Palmer

Dede Wilsey

and newsmagazines all over the country. It was snazzy.

The manufacturer sold thousands of that sweater.

By then women were dressing in pants every day in public—it was a new phenomenon. Before this change in taste, pants, then known as slacks, were worn only at home. As it was with Marie Antoinette and her muslin chemise, many women and men disdained the new trend.

It didn’t matter; now they were wearing pantsuits at public events and even in restaurants. Up until that time, the better restaurants in New York actually

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D AV I D PAT R I C K C O L U M B I A barred women in pants as “inappropriate.”

Then came an incident at Le Pavilion—then the chicest “power” restaurant in New York—when the new Mrs. Onassis arrived for dinner in a pantsuit. She was well aware of Soule’s rule about women in pants.

He even kept paper skirts on hand for women who arrived in pants. Jackie O’s presence, however, because of the public’s huge respect for her, broke precedence.

The restaurateur couldn’t turn her away. No more paper skirts after that.

Although all three of my fashion individuals were widely admired for their

choices and looks, it was Jackie O. who probably had the greatest effect on actual sales volume in the marketplace. Her personal style was most accessible in a practical way. She knew how to look good, even great, and she had the common touch.

Much was written at that time about her fashion spending, it was also true that many designers she purchased from gave her a good discount on everything, and she was not above asking for an even larger discount.

Today the business of fashion and style remains as political as well as aesthetic

in an ever-changing world.

In the early 1960s, there was one editor/publisher of a trade paper called Women’s Wear Daily run by a young man named John Fairchild, who had a profound effect on the garment industry by making it popular.

Women’s Wear was founded by Fairchild’s father years before. It had prospered in its early years by catering to the garment business in New York, which was located primarily along Seventh Avenue south of 42 nd Street. When the son took over as editor, he kept the commercial editorial content, and added interviews with designers, social-

ites, and celebrities, along with occasional gossip and party photos, giving it all a tabloidal feeling. In very few years, he built it into a new publishing empire with great influence in the society of the time, also creating a sister publication, W. The people who read Vogue and Harper’s Bazaar religiously now were also reading Women’s Wear Daily every morning.

Through John Fairchild and Eleanor Lambert, the newly christened fashion industry became a glamorous and powerful influence in the social world of New York. Individual designers were, for the first

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time, becoming celebrities, with their garments’ labels bearing only their names and not the manufacturer’s.

This was occurring along with the evolution of women’s role in the culture that widely affected fashion.

Changes in costume for both men and women have occurred dramatically through the centuries, from 1400 onward. Beginning in the first decade of the 20th century, women began shortening the skirt length, which had previously covered the ankle. By the early 19-teens, they were showing some leg. (They were also, for the first time, wearing 36 QUEST

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lipstick and rouge, thanks to the enterprising Helena Rubenstein and Elizabeth Arden.)

This was all revolutionary, occurring with the rise of the Suffragettes and the women’s bid for the right to vote. By the mid-1920s, women’s skirts were up to the knee. This was shocking after centuries of literally hiding the flesh. The formality of the past was being altered at all levels of society. The Duke of Windsor, back in the 1920s when he was Prince of Wales and heir to the throne, began wearing a shorter jacket at formal dinners among his

set. The tuxedo jacket was born. The tails were done away with except at the most formal affairs. By the 2000s, even the formality of black tie has begun to accede to retirement.

But it was in the 1960s that the Liberation movements were getting underway and actually changing the world we live in. It was a decade fraught with massive public protests about the nation’s politics, the war in Vietnam, integration and civil rights, women’s rights, equal rights, gay liberation. Not coincidentally, it was also the decade of the mini-skirt—way above

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the knee—the micro-mini, it was called; along with the hippie look, the public burning of the bras, the new-age rock-n-roll and Woodstock.

The effect of those changes defines American culture and fashion (where anything goes) to this day.

A half-century later, fashion is now also varied by individual, as well as by cultural influence, because of the internet. The world has grown smaller and smaller. Through the technology of the world wide web, the audience is exposed daily to the same multiple cultures along with their styles and

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Marie Antoinette probably would have loved it.

The young girl who grew up to be Babe Paley might have had a fulfilling life as an artist, or even a designer, had she been born a few decades later. And Jackie O would have moved right along with the changes, always adhering to the practical, the comfortable, and the looking-good. That’s the fashion for the eye.

Changing times. It’s been a relatively quiet summer here in New York, an actual respite for those not

traveling or heading out East where the traffic jams are now old news. There was the notorious case of Jeffrey Epstein, which was a serious diversion from one’s own problems, as well as the issues that need addressing and affect all of us.

The Epstein story reads like a detective movie in the world of the rich, the chic, and the shameless. Maybe like The Great Gatsby, only sordid and deeply disturbing. In other words: fiction.

Substituted by fact. Except sordid.

I had heard of the man back in the ‘90s, when he worked with Leslie Wexner.

I can’t remember the con-

text of that conversation. I never met the man, nor was I even aware of his presence.

I knew he lived in that enormous mansion, although I knew nothing about his social life. That still surprises me, since many I know, even friends, knew him, and even dined at his table in his palatial mansion.

At the beginning of the 20th century, the neighborhood of 71st Street and Fifth Avenue was still part of the Lenox family property known as the Lenox Farm, which covered acreage extending several blocks east as well as north and south. James Lenox built a library of his collec-

tions on the land between 70th and 71st Streets, fronting Fifth Avenue and across the street from the park.

Early in the century, Henry Clay Frick was living in New York and looking for land on which to build a house for his art collection. Around that time, the Lenox library had merged with the Astor Library and others to create the Public Library on Fifth Avenue and 42nd Street. The land on Fifth and 70th/71st was a perfect spot for Mr. Frick’s new house, and he bought it from the Lenox estate under the proviso that he wait until the library was completely moved and

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housed in the Public Library at 42nd Street.

That took some time. The Frick mansion was completed for residency in 1914.

Mr. Frick, with his magnificent collection, moved into the house and lived there until his death five years later, in December 1919.

The tale of a neighbor.

The house at 9 East 71st Street, where Epstein lived, stands right across from the Frick property and originally belonged to the Lenox Farm. But by the early 20th century, that area of Fifth Avenue and those environs had many mansions and even 40 QUEST

Bryan Williams, Robin Grace Warren and Adrian Hobden

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commodious apartment houses for the wealthy. In 1928, Herbert Straus, one of the sons and heirs of Isadore Straus, who coowned RH Macy Company, bought the property with the intention of building a mansion to occupy it, and hired Horace Trumbauer to design it.

It was very grand and tall and took years to construct, including rooms acquired in European houses. It was abuilding when the stock market crashed in 1929.

Straus decided to complete the house, but by 1931 it was not finished, and the Great Depression was now

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being felt seriously. Mr. Straus was also in failing health. He decided to stop construction, and died less than a year later.

The house was boarded up, 90 percent completed, in 1933. It stayed that way until 1944, when the Straus heirs donated the house to the Roman Catholic Archbishopric of New York. It was decided to convert the mansion into a part of St. Clare’s Hospital.

Many changes were made in the interior décor, creating an architecturally an institutional environment. Fortunately, two of the original rooms,

Alexia-Ileana Zaromytidou

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which were 200-year-old interiors from France, were donated and removed to the Metropolitan Museum. The hospital closed its doors 16 years later, in 1961.

The building was sold to the Birch Wathen School, a private girls and boys school.

In the late ’80s, the school moved to new quarters uptown, and it was sold again in 1989—this time to Leslie Wexner, founder of The Limited stores, for $13.2 million. Mr. Wexner then spent “tens of millions” more restoring the house to its original plans.

And then he never lived

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D AV I D PAT R I C K C O L U M B I A there. For whatever reasons and agreements, as we have learned from the Epstein case, the house ownership was transferred to Mr. Epstein for the grand price of $1, sometime in the late ’90s. It is empty again.

Meanwhile, back at the media: The years-long political campaigning is a new phenomenon that looks like it’s here to stay. It reminded me of a presidential campaign announcement back in December 1979, when I first moved to Los Angeles.

It was made exactly ten days before the election year.

The story: Back then, I had been invited last-minute

as an extra man to a blacktie dinner dance upstairs at the Bistro restaurant in Beverly Hills, held on December 21, 1979. It was an annual pay-back party that the hostess Lorena Nidorf gave at holiday time every year for about 200 of her friends.

Lorena came to prominence in the film community as the second wife of Louis B. Mayer, once the king of the town.

She was also well liked by everyone. I was replacing Robb Wolders, husband of Merle Oberon, who had died suddenly three weeks before.

I had moved out there

less than a year before to make a career as a (working) writer. I knew very few in the industry, although I knew who a lot of people were because they were famous. On this night, I went basically as a stranger in a room full of strangers. That’s okay; it’s often interesting to watch the crowd.

There was a cocktail reception before. It was the crème de la crème of the industry in those days: Cary Grant, Gloria and Jimmy Stewart, Frank and Barbara Sinatra, Felicia and Jack Lemmon, along with many prominent businessmen as well as film directors and

producers with their wives in a room full of famous friends.

It was awesome as well as awkward to this first-timer.

I knew no one except the hostess. And yet there were a lot of people I’d been aware of most of my life.

Watching people arriving, I noticed that as they arrived at the reception, they were immediately greeted by our hostess. After that how-jado, many made a bee-line directly across the room to speak to an impeccably coiffed, white-haired Laguna Beach version of Eleanor Roosevelt.

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chiffon long dress, she was warm and gracious in her greetings, and clearly the most important person in a room full of VIPs. She had the presence of a First Lady of the world.

She was Dorothy Chandler, the widow of the late publisher of the Los Angeles Times, and the mother of the then-current publisher, Otis Chandler. The Chandlers were among the early families who developed and built Los Angeles. The Times was only one of their important properties.

Dorothy Chandler was the social empress of all Los Angeles, and was more than an influence. The big boys in the entertainment industry always listened to her.

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So, in my solitude at this Hollywood gala, I decided to, with my vodka on the rocks, go over and stand back to back (by three or four feet) with Mrs. Chandler so that I could hear the conversations of these “important people.� There were enough people surrounding us that it looked as if I were just dawdling amidst a cocktail crowd.

December 21, 1979. That date is important to the dawdling story of that night, because among those guests who ambled up to pay their respects to Mrs. Chandler were Ronald and Nancy Reagan.

That same morning in the Los Angeles Times there had been a small one-paragraph item reporting that

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D AV I D PAT R I C K C O L U M B I A Ronald Reagan was considering throwing his hat into the ring for president in 1980, ten days before the start of election year.

He was a favorite movie hero at Saturday matinees back when I was a kid. He was solid and kindly; the good guy. I even saw him in the film where his character loses his leg and wakes up from the anesthesia asking: “Where’s the rest of me?” which he later used for the title of his memoir.

So there was this movie hero of mine, many years later, standing only three or four feet away from my eager ears, talking to the very powerful Dorothy

Chandler about newspaper editorials and foreign policy and looking like the man I used to see on the screen. I had no real knowledge of him as a politician, nor had I heard his speeches. I knew he was a very popular governor of the state of California. His wife, Nancy, was another favorite of mine in those movie matinees when I was a kid.

In this glamorous location, a room full of real movie stars and household names, the man was now 65 (which was considered “old” at the time for a presidential run), and still very well groomed in the

movie star’s image. The face was kindly as was the voice. His head bobbed slightly, which I took to mean “gettin’ old.”

In my mind, I was comparing him to seeing John F. Kennedy years before, at a political rally held at midnight in Lewiston, Maine, in October 1960. He was on a campaign tour throughout New England. I remember JFK’s words, his voice with its stentorian kindness, and the power that emanated from him. The man talking to Mrs. Chandler that night upstairs at the Bistro was not my experience of a potential presidential

candidate.

It so happened that in the same edition of the LA Times that day, there was an editorial criticizing President Jimmy Carter for not allowing the deposed Shah of Iran into the country for medical attention (he was suffering from cancer).

Carter’s decision was based on his negotiations with the Iranian mullahs in getting the release of the American diplomats who were being held hostage by the so-called Revolutionary Guards.

Ronald Reagan, in his quiet certainty, thanked Mrs. Chandler for the Times’ editorial, adding his strong

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agreement with her paper’s editorial board. Frankly, I had not been impressed with that day’s editorial, and Mr. Reagan’s discussion about it didn’t have any weight to it for me. Nor was I impressed by his presence as potentially “presidential.” I remember thinking that the guy would never make to the White House. Ha! on me!

Over the years living out there, I learned much more about Ronald Reagan—the man and the candidate, as well as the movie actor—as he conducted his role in office.

His political career was not an accident, nor was it only because he had powerful men 48 QUEST

Lulu Powers, Tharon Anderson McEvoy and Stacey Stuart

Giana and Joshua Hebert

(the Kitchen Cabinet) behind him. He was a highly driven pro whose greater ambition to be a movie star was not realized, but was subsumed by a even greater ambition, which he naturally pursued with even greater success.

Back to the news. I look at the Daily Mail online every day. It’s a wonder in itself.

That’s world gossip-central on the internet. Unashamedly brilliantly tabloidal, and the only bad

part is you will read (or see—I don’t read them) the terrible things people do to each other, to their children, their families, their neighbors, the partners, their animals. You’ll also see (or read) something about one of the Kardashians.

Every day, the Kardashians.

It’s mindless, and it’s big business, too.

Recently, one of them—Kylie Jenner, I think—was getting kissed by her boyfriend Travis Scott.

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That’s the story: They were kissing on the lips.

One day, they carried a story about Nigel Farage having a few words about Prince Harry and Meghan Markle.

Farage is outspoken in that he doesn’t appear to hold back any objections about matters he’s discussing. I’ve seen several of his moments when he was a British representative at EU meetings. My British friends say that he’s not popular (with them) politically. I think he annoys them. I think he annoys a lot of people, because aside from his opinions, there’s something kind of next-door-neighbor likeable about him.

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I can’t help laughing about it. I’m one of those who finds this royal family interesting.

After all, it’s the only one we’ve got (or sociologically most interesting) as Americans. I am in awe of Her Majesty.

From everything I’ve read and learned about her—including Sally Bedell Smith’s excellent biography—and from her conduct as a national figure, she is indeed the most powerful figure in the world. Despite everything around her and the rest of us, the queen personifies peace and common sense.

Off-camera, from what I’ve learned from those who know her, she sounds like a very amused and amusing lady, still very much with it, and wise.

In the Daily Mail arti50 QUEST

Lisa Sadoughi

Christy Turlington, Joey Wölffer and Sally Pressman

cle, Farage remarks also about Elizabeth the Queen Mother, whom he described as a “slightly overweight, chain-smoking gin drinker who lived to 101 years old.”

This annoyed a lot of people, obviously.

It made me laugh because I’d heard several stories about the Queen Mother when she was very much alive. And all of them are a portrait of a woman of power and position who enjoyed herself and was very funny—especially when you connect it to that public face with its wise, wry smile.

Years ago, in Los Angeles, I was having dinner with Edie Goetz, whose butler Lodge had served in the royal household as a footman. While wait-

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“Oh, very much sir,” he replied, adding “She’s very much like the queen.” And then he explained, “I don’t mean Queen Elizabeth, I mean the Queen Mother.”

Surprised by his seemingly serious remark, I asked him how Mrs. Goetz was like the Queen Mother.

“Oh, staff, sir—her staff comes first.”

I learned from others that her footmen all loved the Queen Mum. And they all had stories about her—all of which were endearingly funny. One oft-told anecdote was about how one afternoon

she sent one of her boys down to fetch her jewels, since she would be attending a formal affair that night.

Waiting for him by the lift, he soon emerged bedecked in her jewels—tiara, necklace, brooch, etc.

Highly amused by the astonishment, she said, “Give me those, they are for a real queen!”

When Princess Margaret was alive, the Queen Mum, Margaret, and eight or 10 of the footmen from the palace would often go up to Windsor Great Lodge on weekends and have their own party. Margaret would play the piano, and the boys would all accompany her and the Queen Mum, singing and enjoying themselves. u

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Larissa Potapchuk and Bonnie Pfeifer Evans

Jeff and Hillary Suchman

Richard Johnson

F I N N 2 F I N N A L L I A N C E ’ S B E N E F I T AT A S H G R O V E FA R M I N W AT E R M I L L

Wilhelmina Waldman and Kelly McNeill 56 QUEST

Breanna Schultz and Amanda Hearst

Cori Lee Seaberg and Jeffrey Berman

Julia Fehrenbach

Masha Kalinina

PAT R I C K M C M U LL A N

Hassan Pierre

ANNA SUI FASHION SHOW SPRING 1994. PHOTO: RAOUL GATCHALIAN.

museum of arts and design

ON VIEW SEPT 12–FEB 23

2 COLUMBUS CIRCLE, NYC | MADMUSEUM.ORG

Support for The World of Anna Sui is provided by Russell and Marian Burke, Inter Parfums USA, UOVO: MODA, Albion, Mondottica, Teva, Jeanne Masel, Thomas W. Roush, and The Douglas A. Hirsch and Holly S. Andersen Family Foundation in honor of Jane Holzer.

The exhibition is also made possible by a grant from the New York City Department of Cultural Affairs.

MAD is grateful for the additional support of Oliphant Studio.

D AV I D PAT R I C K C O L U M B I A E D M I STO N YAC H TS H O STS I N AU G U R A L C H A R I T Y C H U K K A I N W AT E R M I L L

Erica Pelosini

Michael and Alessandra Bush

Elena Kurnosova and Zang Toi

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Rachel Zoe

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C H R I ST I E ’ S L AU N C H E S N E W C O L L EC T I O N AT B E R G D O R F G O O D M A N I N N E W YO R K

Julia Loomis 58 QUEST

Hilary Rhoda and Alexandra O’Neill

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Paloma Contreras and CeCe Barfield Thompson

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B FA

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bhhsnyp.com © 2019 BHH Affiliates, LLC. An independently operated subsidiary of HomeServices of America, Inc., a Berkshire Hathaway affiliate, and a franchisee of BHH Affiliates, LLC. Berkshire Hathaway HomeServices and the Berkshire Hathaway HomeServices symbol are registered service marks of HomeServices of America, Inc.® Equal Housing Opportunity.

D AV I D PAT R I C K C O L U M B I A TO A ST I N G F I N D I N G M R S . FO R D AT T H E W E ST MO O R C L U B I N N A N T U C K E T

Chris Mitchum and Doreen Corkin

Deborah Goodrich Royce and Chuck Royce

Sarah Newton and Carolyn MacKenzie

Weasy Blodgett, Valerie Stauffer and Meade Geisel 60 QUEST

Holly Johnson Bartlett, Jean Doyen de Montaillou and Coco Kopelman

Henrik Vanderlip, Nell Otto and Louise Vanderlip

David and Sharon Northrup

Susan Payson Burke and Lucinda Ballard

K R I S K I N S LE Y H A N CO C K

Linda Seligman and Michael Kovner

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D AV I D PAT R I C K C O L U M B I A NET-A-PORTER’S EA ST HAMPTON LUNCHEON

Alison Loehnis and Aerin Lauder

Jessica Joffe 62 QUEST

Jack Brinkley-Cook and Nina Agdal

Jessica Seinfeld

Dree Hemingway

Tabitha Simmons

Athena Calderone

Olivia Chantecaille

B FA

Georgia Fowler

The Sword Gate House | 32 Legare Street | South of Broad | Downtown Charleston, SC | $14,999,000 9 Bedrooms | 13 Full & 3 Half Bathrooms | Approximately 17,142 sq. ft. | Deborah C. Fisher | 843.810.4110

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D AV I D PAT R I C K C O L U M B I A NEWPORT ART MUSEUM’S SUMMER BALL

Monique Coleman and Annie Baker

Elias Buchanan Ohrstrom, Jane Smith and Esmond Harmsworth

Nina Delano and Wirt Johnson 64 QUEST

Marjorie Gubelmann

Brownie Warburton and Charlie Burns

Savanna Cowley and Eames Yates

Nick and Molly Mele

John Harris and Linda Sawyer

Nicky Irving and Elizabeth Leatherman

N I C K M E LE

Howard and Lucia Cushing

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D AV I D PAT R I C K C O L U M B I A AN EVENING WITH AMERIC AN HUMANE IN SOUTHAMPTON

Kristen Baran and Nancy Pearson

Brenda Landry and Constance deSvastich

Caroline Gilbert 66 QUEST

Patty Raynes

Alex and Pamela Camacho

Cricket Burns, Jessie Mezzacappa and Melinda Hackett

Beth Stern and Tom Kearney

Peter deSvastich and Rosalie Brinton

Carol Guest

A N N I E WAT T

Hunter and Susan Cushing

THE STRATFORD OCEANFRONT PENTHOUSE Palm Beach

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Discover oceanfront living in the Palm Beaches by a luxury real estate expert with a New York City mentality.

Call today!

Hélène Sidel m 561.301.1135 helene.sidel@corcoran.com

Equal Housing Opportunity. All information furnished regarding property for sale or rent or regarding financing is from sources deemed reliable, but Corcoran makes no warranty or representation as to the accuracy thereof. All property information is presented subject to errors, omissions, price changes, changed property conditions, and withdrawal of the property from the market, without notice.

All dimensions provided are approximate. To obtain exact dimensions, Corcoran advises you to hire a qualified architect or engineer.

D AV I D PAT R I C K C O L U M B I A A L Z H E I M E R ’ S A S S O C I AT I O N H O STS D I N N E R I N B R I D G E H A M P TO N

Princess Yasmin Aga Khan and Barry Lafer

Jenny Godman and Anna Miller

James Bulgin and Amanda Pawlowsky with Mary and Trevor Miele

Malcolm Beasley and Beth Landman

Samantha, Miles and Sarah Nadal

Rachel Smith and Zoe Blumenthal

68 QUEST

Kim and John Reid

Karyn Kornfeld, Lizzie Meltzer Fine, Daryl Simon and Robin Meltzer

Stephanie Hirsch and Steve Madden

B FA

Abby Langenderfer and Peighton McRobie

MICHAEL A. KOVNER AND

JEAN DOYEN DE MONTAILLOU salute

DEBORAH GOODRICH ROYCE and HER BEST SELLING BOOK

D AV I D PAT R I C K C O L U M B I A J.MCL AUGHLIN’S SIP AND SHOP IN SOUTHAMPTON

Blair Beal

Cate O’Hara and Jack Lynch 70 QUEST

Dara Sowell and Lieba Nesis

Maria Fishel, Sharon Bush and Ruth Miller

Jean Shafiroff and Faye Jacobs

Christine Blaine and Josh Bell

Jeremy Weisen

Cathy Dougherty

E R I C S T R I F F LE R

Mary Ellen Coyne and Elizabeth Robins

Legendary, Lux, Renovated, Treadwell Farm TH $11.9M. 211 East 62nd Street Barbara Evans-Butler 917.225-5515. Cian Connor 973.787.7150

4BR+Lib w Terrs & Park Views on Fifth

2 Townhouses with Double Garden

Exceptional 13 Rm Grand Scale PW Co-op

$9.95M. 910 Fifth Avenue 14C Alexa Lambert 917.403.8819

$17.9M. 166 East 81st Street. Co-Exclusive Patricia Farman-Farmaian 917.213.7690

$10.35M. 555 Park Avenue 5W. Sherlock Hackey, Jr. 917-656-1395. Lib Hyatt Goss 917.270.5433

compass.com Compass is the brand name used for services provided by one or more of the Compass group of subsidiary companies, including Stribling & Associates. Compass is a licensed real estate broker and abides by Equal Housing Opportunity laws. All material presented herein is intended for informational purposes only. Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdrawal without notice. No statement is made as to the accuracy of any description. All measurements and square footages are approximate. This is not intended to solicit property already listed. Nothing herein shall be construed as legal, accounting or other professional advice outside the realm of real estate brokerage.

D AV I D PAT R I C K C O L U M B I A M I L L E N N I A L P I N K PA R T Y W I T H C H AT E AU D ’ E S C L A N S I N MO N TAU K

Matthew Kane and Elliott Sailors

Jessica Markowski 72 QUEST

Maddie Gentile and Katia Pryce

Emma Fredwall and Julia Greenberg

Leah Kate, Larry Milstein and Charlotte Bickley

Zach Weiss and Christian Bendek

Dria Murphy

Judah Schulman and Toby Milstein

B FA

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®

M a d e

i n

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1 1 0 E a s t 5 5 S t r e e t • N e w Y o r k, N Y 1 0 0 2 2 2 1 2 .7 5 5 .7 3 7 2 • b e l g i a n s h o e s .c o m

D AV I D PAT R I C K C O L U M B I A H A M P TO N S C U P AT EQ U U L E U S P O L O C L U B I N W AT E R M I L L

Sailor Brinkley-Cook and Christie Brinkley

David Lawrence, Wes Moore, Mercedes Abramo and Dawn Moore

Lisa Martin and Lily Maddock 74 Q U E S T

Mercedes Abramo and Diana DiMenna

Gucci Westman and Delfina Blaquier

Nacho Figueras

Whitney Fairchild and Nacho Ramos

B FA

Ingrid Vandebosch

Rarely Available Classic Upper East Side Grand Prewar Co-op This rarely available luxurious three bedroom, three bathroom Park Avenue residence basks in breathtaking Metropolitan Museum of Art and open city views to the South and West with contemporary updates and unprecedented natural light. The expansive co-op includes exceptional architectural details, including tall ceilings, handsome millwork, wainscoting and hardwood floors.

A private elevator vestibule opens to a grand entry gallery with a corner living room and formal dining room ahead. Chefs will love the sunny eat-in kitchen, beautifully renovated with premium stone and stainless steel appliances. There’s a serene corner master suite with walk-in closet and en suite bathroom. Another bedroom suite includes a Jack-and-Jill bath shared with the library, and the third bedroom sits adjacent to the third full bathroom.

Abundant extra closets and a side-by-side washer-dryer add effortless ease.

Residents of this white glove prewar co-op enjoy full-time doorman service, live-in superintendent, storage, a newly renovated lobby, fitness center and a stunning rooftop garden with views that stretch across Central Park.

Please contact me for details.

Upper East Side Two Townhouse Compound with Enchanted Garden $17,900,000

Alex Daigh The Alexander Daigh Team Licensed Associate R.E. Broker 917.971.8214 adaigh@compass.com Alex Daigh Licensed Real Estate Broker. Real estate agents affiliated with Compass are independent contractor sales associates and are not employees of Compass. Equal Housing Opportunity. Compass is a licensed real estate broker located at 90 Fifth Avenue, 3rd Fl. NY, NY 10011. All information furnished regarding property for sale or rent or regarding financing is from sources deemed reliable, but Compass makes no warranty or representation as to the accuracy thereof. All property information is presented subject to errors, omissions, price changes, changed property conditions, and withdrawal of the property from the market, without notice. To reach the Compass main office call 212.913.9058

D AV I D PAT R I C K C O L U M B I A P R O STAT E C A N C E R R E S E A R C H FO U N D AT I O N ’ S G A L A AT PA R R I S H A R T M U S E U M I N W AT E R M I L L

Chris Oberbeck and Bonnie Pfeifer Evans

Ray McGuire

Susan Metcalfe and Susie Smith with Natasha and Daniel Nestor

Peter Brant, Jr. and Erica Pelosini 76 QUEST

Marissa and Steve Drew

Ray Hoshew and Alexandra Schueler

Jane Harman

Colleen and Tagar Olson

Eric and Joan Davidson

B FA ; PAT R I C K M C M U LL A N

Lauren Bernon and Larry Leeds

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D AV I D PAT R I C K C O L U M B I A A F T E R T H E R AC E S I N S A R ATO G A

Sean and Elizabeth Clancy with their son

Joan and Billy Wilmot

78 QUEST

William G. Robbins, Will Robbins and Lisle Broadbent

Valerie Clement and Webb Egerton

Morton Irvine Smith and Alletta Cooper

Brooke and Avery Egerton-Warburton

Karen Klopp, Monique Merrill and Hilary Dick

William McMahan and Evelyn Tompkins

B R I T TA I N WA LL

Peggy Steinman and Stanley Petter

Willow Green Farm - The quintessential country estate just 50 minutes from midtown NYC. Absolutely breathtaking ten acres protected by hundreds of acres of adjoining conservancy. Stunning 19th Century Colonial perfectly restored and carefully expanded. Visually stunning living space with quarter-sawn oak floors, incredible millwork, wide crown moldings and raised paneling. Separate Guest/Staff Quarters. Tennis Court. Salt-water Swimming Pool. Pool House. Antique six stall barn. $4,475,000

Sunny Hill Farm - Sophisticated Modern Farmhouse built in 2015. Oriented westward for sun all day and breathtaking sunsets. Over 7100 square feet of finely detailed living space. Wonderful flow for entertaining and everyday living. Jaw-dropping Chef ’s Kitchen. Over four estate area acres with specimen plantings and age-old trees. Pool with Spa. Gate House/Guest Cottage. Antique Ice House and Barn.

Foremost Mt Holly estate area. A remarkable offering! $3,700,000

The House in the Woods - Long drive to impressive Country Retreat. Rare Modern Lodge with 8230 square feet of living space. Stunning interior spaces with high ceilings, wide-plank Pine floors, vaulted ceilings, exposed beams, French doors and extensive millwork. Perfect for entertaining on the grand scale. Jaw-dropping Great Room. Separate Guest House. Over nine acres abutting the protected lands of the Russell Preserve. Frontage on a vernal pond and the Mill River. $2,795,000

Nearly Ten Pastoral Acres - In one of Bedford’s finest estate areas.

Tree-lined drive to formal courtyard. Impressive Country Colonial with 8000 square feet of sophisticated living space. Beautifully proportioned rooms with fine details perfect for entertaining on the grand scale. Five Bedrooms including separate Guest Wing. Spectacular terrace with outdoor fireplace and water feature overlooking the sparkling Swimming Pool. Gorgeous grounds with specimen plantings. Perfect for horses with Barn and easy trail access. $2,500,000

Autumn Ridge Gem - Summer by the Pool. Stunning Colonial with Waccabuc River Farm -Rare antique Farmstead, circa 1792. Over contemporary overtones. High ceilings, open floorplan and walls of windows. Impressive Entrance Hall. Perfect for entertaining, Living Room with two-sided gas Fireplace and wet bar. Family Room with doors to rear terrace and barbecue overlooking the pool. Formal Dining Room. Open Kitchen. Four Bedrooms. Over three acres in a desirable neighborhood. $1,240,000

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five picturebook acres with direct river frontage. Breathtaking grounds with flowering Magnolia and fruit trees. Charming Farmhouse with hardwood floors, high ceilings and period millwork. Sun-filled Parlor. Four Bedrooms.

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H A R RY B E N S O N

IT SEEMS LIKE YESTERDAY JEAN SHRIMPTON was definitely The Face of the ’60s. She was ubiquitous—one of the first supermodels, her waiflike and yet modern face was on every magazine cover on the stands. The symbol of Swinging London, she was the complete opposite of the aristocratic-looking, stiffly posed models of the ’50s. Girls everywhere were emulating her style: long, flowing hair with a fringe; pouty lips; always in a miniskirt.

Nicknamed “The Shrimp,” she was British Fashion Week. I had photographed her in London and then again in Bryant Park in NYC in 1967 during British Fashion Week. I believe it was the first fashion event ever held in Bryant Park, before the wave of designers began to descend on the park each season with their designs.

This day, she patiently posed for every photographer, down to earth, not snooty; her fame had not gone to her head. She waited for every single photographer to get a picture before going for a late lunch. Other models liked working with her; she was generous and didn’t try to steal the show.

She had good manners and no attitude.

We sat on the grass after the show and chatted about London and my photographing the Beatles.

She mentioned how much she liked New York.

I’m glad I had the chance to photograph her at the peak of her fame—she was a major player who led the way for the supermodels who came after her. u Jean Shrimpton photographed in Bryant Park, summer 1967.

SEPTEMBER 2019 81

TA K I

SUMMER LOVE

Left to right: Fiona Campbell-Walter posing in a Balenciaga gown for Vogue in 1952;

ACCORDING TO CASANOVA, the only true love is summer love. Actually it’s mine, as the Venetian was too slick to differentiate between love seasons. The reason I find summer love the truest is because it has its limits. Come September and the return to school, job, city, town, whatever, summer love tends to dim as cold, hard reality sets in. We all first fell in love in summer, no ifs or buts about it. It is during summer when we first viewed our beloved and began to dream and write love letters. It is during summer when we wrote—what John Simon called—missives peppered with declarations of adoration, brimming with antic82 QUEST

ipation, glorying in fulfillment. Vladimir Nabokov, whose son was a friend of mine, was a terrific “coureur,” and wrote beautiful love letters to his wife while he was out chasing women. Headlong pursuits and sophomoric ecstasies aside, he always referred to summer in his epistles.

“My sun, my pink sky, my sunny rainbow, my blue sky, my soft white cloud...” Men might cheat in winter, but they fall in love in summer. What the French call “amour fou” is summery, mendacious affairs are wintry ones.

My first real love was onboard a transatlantic liner back in 1952. I was just 15 and she was called Isla and she was

Texan. Travelling with her parents as I was with mine from New York to Cannes.

She was racy, very lovely, boyish, wearing a yellow skirt that matched the funnels on the deck. (She now reminds me of the famous Hopper painting, Summertime.)

She had green eyes—tender and jovial.

We swore eternal love then never wrote, spoke, or ever saw each other again. She is now in her 80s, if she’s still alive. See what I mean about the cold reality that follows summer?

That same summer I met a young woman of 17 who was later to become one of the greatest beauties around, Fiona Campbell-Walter, better known now as

G E T T Y I M A G E S ; H E N RY C L A R K E / CO N D E N A S T

Vladimir Nabokov, circa 1950.

TA K I

Left to right: Glyfada coast in Athens, Greece; the 1954 Miss World Competition.

Fiona Thyssen. Ah, the allure of the older woman under the sheltering palm trees of the French Riviera. The next summer it got worse. I was now 16 and raring to go.

Caroline came into my life—slim, golden, slant-eyed, in her boy’s felt hat. We had the time of our lives, but then came time for me to go back to school and she to the great country house in England. The day she left I met Estelle, and never saw Caroline again.

Estelle’s father was the Swedish ambassador to Paris and did not approve of her lifestyle. But we stayed in touch because she came over with him to a U.N. meeting and I came down from school to see her. It was the first time I’d seen her dressed, all in woolies and stuff, and it was not the same as the bikini I was used to. Winter does funny things to summer loves. Estelle and I went on seeing each other occasionally as we grew up—drinking, flirting, getting into trouble, until one day she killed herself in Camargue.

I had no idea such a beautiful and fun young woman suffered from depression, my lack of foresight I now blame on the selfishness of youth.

There were no melancholy Swedes in the following years, the early-to-mid-50s, when I discovered the Greek waters.

Mind you, Greek waters back then meant Glyfada, and they were cleaner then than any Mykonos or Kimolos beach can brag about today. As was my first Greek summer love, who turned out to be French and a nightclub singer by the name of Maria. She appeared nightly in the best nightclub of its time, Argentina, located on the northern side of the seaside road that led to Glyfada. Maria was voluble as a singer, and also very voluble in later nighttime endeavors. I was 17 by then and rather proud to be allowed to escort her into the night after her double appearance

at Argentina, where the tiny Athenian society gathered each evening. Maria then disappeared. I was informed that a Greek industrialist and ship owner had taken her with him on his new sailing boat. The boat was Aries, the largest yacht built after the war at Camper & Nicholson, and the man was called John Theodoracopulos, my father. He was 49 years old. I did not take it too badly because, yet again, it was a summer love thing, and I had to go back to school. Thirty-five some years later I mentioned it to my father but he didn’t remember a thing. I guess it was summer love for him also.

Greek summers then became a habit, especially after the one following. I met a Greek woman who had been nicked at the post as Miss Greece 1954, who later placed third in the Miss World contest. The young woman I fell for was called Eva and she had the kind of figure Raymond Chandler described as hourglass, and one a bishop would break a cathedral’s stained glass window to get to. Used to slender, boyish, American and English-type girls’ figures, Eva’s body drove me insane. We did nothing

but make love, so much in fact, that when I competed in the Greek national tennis championships, I almost lost to someone who was so bad he served the second serve underhand, such was my lack of coordination. Thus ended the summer of 1955. I never saw Eva again, nor did I return to Greece for some years. I was off on the tennis circuit and to university, and, I suppose, to manhood. Love and loves became a year-round obsession— summer loves, however, being chiseled in stone in my memory. They remain rarefied, fragile museum pieces, handled with hushed reverence. Romantic love is by its nature delusional and brief, a fine madness. It’s an age old anti-depressant.

But summer love, for reasons already expressed, is the best. Nothing is more vivid than the start of a love affair, especially in summer. Finally, a last piece of advice from an oldie: During summer, forget the Peace Corps and other such silliness. Forget saving the planet. Go after the girls, especially those without mobiles, if there are any left. u For more Taki, visit takimag.com.

SEPTEMBER 2019 83

LI F OFO ES DT& Y LLEI F&ESTY F OOD LE

84 QUEST

RU LE S F O R F L A W LE S S E N TE RTA I N I N G ( R I Z Z O L I , 2 0 1 9 )

ALEX HITZ, bon vivant and host extraordinaire, is renowned for his dinner parties at which he entertains the A-list and beau monde. In his newest book, The Art of the Host: Recipes and Rules for Flawless Entertaining (Rizzoli, Sept. 2019), he draws upon his experiences, while reminiscing about celebrations past, to offer his guidance, rules, and recipes—everything one needs to be a successful host. Conceived as complete menus for a dozen occasions as varied as “the absolutely perfect every time Thanksgiving” to “the quintessential summer dinner,” the more than 100 recipes, with foolproof instructions, set you on the path for planning the perfect dinner party or decadent intimate evening in. u

A LL I M A G E S F RO M T H E A RT O F T H E H O S T: R E C I P E S A N D

HITZ ON HOSTING

A few absolutes for ente ALWAYS

rtaining, by Alex Hitz NEVE

R • Make a schedule for having a lunch or a dinner , and stick to • Sto it. Serve your lunches and p smiling. At parties, jus dinners on time! Do not t about anything can go punish your and often guests that have been pu wrong, does—things far out of nctual by waiting for, and your control. Never sto thus reward- ing, and ing, the bad-mannered p smilall will be OK. ones who are late.

• Consider where you • Use your guests as r guests will be seated, eve guinea pigs. Be sure of n if you don’t serve bef everything you’ll have place cards. And rem orehand. They deserve ember, every single small the best you have to off det ail for er. party, regardless of how a • Never pla informal or grand the occ n menus that are trend y or too complicated beasion, requires cau planning and forethoug se, as Karl Lagerfeld put it bes ht. t, “The last step after tre • Make an effort—a hu ndy is tacky.” ge effort, sweat all the sm all stu ff, oth- • Have erwise why are you hav a cocktail “hour” that is ing guests? No one has any longer than 45 minute a gun to your head to entertain, so if s.

• Make the music too lou you do it, be all-in, or not d.

It set s at people on edge, and can all— just do ma it before your guests arr eve n ke them leave. This is lun ive so they don’t see you ch or dinner, and not a roc sweat. Nothing can ruin a party quicker k concert.

• Lose control of you that watching the host r table. If you see your straining to get the job done. Parties are guests on their cell phones, remember the worth the extra effort, y took the first rude steps bu t the y must look seamless, and simple so it’s 100% OK to say, “Please no ph , though they never are. ones. I enjoy your compan • Have candles and y.”

Mark my words: there has never, flowers. I always have can ever been a party made dles at special holiday lunches even tho bet ter by having its guests working their ugh Emily Post says no phones. candles during the day. There’s so much • Try to please everyo else to offend our sensib ne. Be a considerate, gen ilities now, that I think perhaps, dear Em erous host, with good intentions, but the ily, we can let that one go. more people you try to ple • ase by accomRemember that anythi modating their special die ng can go wrong, and ts or eating habits, the mo often does.

Nothing’s perfect, no ma re times you will fail. Do your best, tter how hard we may try serve simple, impeccabl . But a party will always be successfu e, delicious, and hearty food, turn the ligh l, regardless of what hap ts down, and don’t run out pens, if you keep smiling, don’t punis of wine, and you will succeed—but h your guests by making giv ing your guests too ma them wait too long to be served, or sta ny choices to suit them personally is the rve them by having ski sign of a very insecure hos mpy portions.

Plus, if your humor is t. Your dining room is not a short ord intact, your intentions er kitchen. By making a gen are spot-on, and you have plenty of wine, erous and thoughtful effort, even if even if your oven goes not everyone can eat or out and you’ve got to send out to KFC, likes everything, your party will be more your party will be a triu than good enough, a gre mph. at success—a triumph, even—and if it’s not, please get some new guests.

SEPTEMBER 2019 85

PHILANTHROPY

FRENCH HERITAGE SOCIETY is pleased to announce The Black and White Ball, our annual black-tie gala in New York City, to be held on Thursday, November 21, 2019, honoring Gregory and Margaret Hedberg for their invaluable contributions in the fields of art and philanthropy and world-renowned interior designer Geoffrey Bradfield. Our gala chairmen include CeCe Black, Michael A. Kovner and Jean Doyen de Montaillou, Jay Paul, Jean Shafiroff, and Ann Van Ness. Guy N. Robinson and Odile de SchiétèreLongchampt are our New York Chapter co-chairs. The evening will include an elegant dinner followed by music and dancing to The Bob Hardwick Sound. We hope you will join us!

From the time of the American revolution to the Battle of Normandy, France and America have been allies. French Heritage Society celebrates this friendship. FHS restores bricks and stone in France and French-inspired buildings throughout the U.S. We also support student exchanges between our two countries, and more than 500 students have benefited from these opportunities. Friendships are forged 86 QUEST

through both restoration projects and summer internships.

Over the past 37 years, French Heritage Society has given close to 600 restoration grants to properties throughout France and the U.S. To date, we have awarded $21.2 million in grants (including required matching funds) to châteaux, landmarks, and monuments. Projects supported in France include the Bibliothèque Nationale de France and the Mont Saint-Michel Abbey. Projects in the U.S. include the Rochambeau Monument in Rhode Island, the BeauregardKeyes House and the Seignouret-Brulatour House in New Orleans, and the Laura Plantation in Louisiana.

The tragic fire that devastated Notre-Dame Cathedral provided an urgent reminder of the fragility of our beloved This page: Jennifer Herlein, CeCe Black, Maureen Nash, Elizabeth Stribling, Johnsonie Casimyr, Elizabeth Hartnett, and Victoire de Vaugelas. Opposite page, clockwise from top: Michael Kovner, Jean Doyen de Montaillou, and guests; Christian Draz and Marifé Hernández; Sana Sabbagh, Franck Laverdin, and Margo Langenberg; Juan Pablo and Pilar Molyneux.

A LL P H OTO S CO U RTE S Y O F F R E N C H H E R I TA G E S O C I E T Y

VIVE L’AMITIÉ FRANCO-AMÉRICAINE!

architectural marvels. Not only a symbol of France, it is a universal testament to human achievement, and FHS is more grateful than ever in times like these to play an important role in ensuring that these treasures survive to inspire future generations. Within 24 hours, FHS established the Notre-Dame Fire Restoration Fund, and to date, nearly $2.5 million has been raised with more than 3,300 donations from 40 countries received, including a very generous contribution from the Lauder family and The EstĂŠe Lauder Companies.

You can see more on our website, frenchheritagesociety.org, or by contacting us at 212.759.6846 or at fhs@frenchheritagesociety.org.

French Heritage Society does so much to forge a better understanding of our respective cultures. A society of friends, we have 11 chapters across the U.S. and one in Paris. Come join our famille and celebrate at our fĂŞte! u Un grand merci, Elizabeth F. Stribling, Chairman CeCe Black, Special Events Chair French Heritage Society

QUEST

Fresh Finds

BY K AT H R Y N M A I E R A N D E L I Z A B E T H M E I G H E R

SEPTEMBER IS THE PERFECT MONTH for fashion, when

nearly anything goes, from fresh florals to rich jewel tones.

The month starts warm enough for rosé, and ends with crisp daytimes and cool and cozy evenings: time to find a new favorite coat...and a roaring fireplace. We’re predicting we’ll see a lot of houndstooth check—our favorite pattern—this season too.

Vhernier’s Verso earrings in 18-kt. pink gold and ebony. $6,600.

Vhernier New York: 783 Madison Ave.

Link up with Monica Vinader’s Alta Capture Large Link Charm Bracelet in Gold. $595 at monicavinader.com.

We’re hot for houndstooth! J.McLaughlin’s Lark Coat ($398), Arlette Turtleneck ($148), Ruby Reversible Belt ($98), This special edition tea service set, handmade and handpainted with 24-kt. gold accents, honors the 60th anniversary of the partnership between Herend and Scully & Scully. $5,950, exclusively at Scully & Scully: 504 Park Ave., 212.755.2590.

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Becca Legging ($178), and Mila Heels ($198). jmclaughlin.com.

A fun fish-inspired pendant in fiery shades from Lusso by Fabio Angri. Visit lussobyfabioangri.com for details.

CPB, the restaurant at The Colony, brings sophisticated new American dining to Palm Beach. New for fall are custom pastry orders, from sweet treats to towering cakes, from pastry chef Emma Isakoff.

Visit thecolonypalmbeach.com for more.

Purdey’s Ladies Peccary Gloves in burgundy are made from the finest glove leather available. £375 at purdey.com.

Laura Garcia’s midilength Nicolette Dress with ruffle details in raisin chiffon goes effortlessly from day to dinner. $645 at lauragarcia.com.

The gem-set brown ombré bezel adds autumnal flair to the Rolex Day-Date 36 in Everose gold. $37,250. Visit rolex.com for retail locations.

Rich and rounded, Rock Angel is a rosé to take you into the cooler months. $35 at fine wine retailers.

SEPTEMBER 2019 89

Fresh Finds The Venetian slipper from Stubbs & Wootton in espresso split suede. $525 at stubbsandwootton.com.

A rugged look from Polo Ralph Lauren: “Goodman Rodeo” Sherpalined Stormrider jacket ($498), Classic Western Shirt ($148), and Murphy Jean ($90), all available at select Ralph Lauren stores or at ralphlauren.com.

Bacardi’s Gran Reserva Diez has been expertly blended and barrelaged for at least 10 years under the Caribbean sun. bacardi.com.

Autumn continues the Farm + Vine events at Ocean House, this year featuring female chefs, book authors, and winemakers, including chef Barbara Lynch in September and Amy Traverso from WGBH’s “Weekends with Yankee” in November.

Visit oceanhouseri.com for details.

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preserve the world’s mountain environments. $130 at bally.com.

In honor of the U.S. Open, don the rainbow-hued Electrify

by Wempe Casuals Tennis Bracelet in 18-kt. red gold with 76 topaz stones. $2,925. Wempe: 700 Fifth Ave.

Get a handle on Llora’s Smith bag in Pewter Gray Shiny Croc with chalcedony in pewter frame. Visit llora.com for details.

Florals are fresh for fall with the Shoshanna Silas Dress in floral embroidered mesh. $605 at shoshanna.com.

Sunflowers, 1964, acrylic on canvas (15 1/2 by 12 inches) by Nicola Simbari (1927-2012). $24,000. Findlay Galleries: 165 Worth Ave., Palm Beach, 561.655.2090.

Elegantly sip martinis, manhattans, and more from a Nick & Nora Glass by Riedel. $30 for two, at Bloomingdales or Contemporary twists on classic

riedel.com.

design mark the work of Wadia Associates. For a similarly styled home, visit wadiaassociates.com.

SEPTEMBER 2019 91

EQUESTRIAN

THE ROMANCE OF FOUR HORSES DRIVEN TO A COACH The author of Coaches and Coaching Throughout the Ages, president of the Equine Heritage Institute, master teacher and evaluator for the Carriage Association of America, and four-in-hand coaching driver, tells why the art of four-in-hand endures in the modern age.

THE GLAMOUR OF driving four perfectly matched horses to a large coach laden with guests in their finest clothes was a tradition started by the British. The wealthy gentlemen of 18th century England so admired the commercial coachman’s

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ability to drive four 1,000-pound horses to a 3,000-pound coach to carry the Royal Mail that they sought to replicate what is called “four-in-hand” driving with their large privately owned coaches.

Carriages initially were very uncomfortable, jostling along bumpy dirt roads. With the development of suspension systems, with coach bodies first suspended from chains or leather straps, and later positioned atop springs, they began to become a more common form of transporation for entire families. It took four horses to comfortably pull these heavy coaches, so this type of driving became known as four-in-hand driving. The driver, called a “whip,” sits on a wedge cushion with a toeboard for his or her feet, in almost a semi-standing position. The reins have to be delicately manipulated in one or both hands to signal the horses through the bits in the horses’ mouths. The right hand also carries a whip to tap the

A LL I M A G E S CO U RT E S Y O F B A R B A R A TO B E R

BY GLORIA AUSTIN

This page, from top: Four-in-Hand club member Herb Kohler driving a four-in-hand team; a pond and the Georgian house at Wethersfield, where a four-in-hand meet will take place in October.

Opposite page, from top: The gardens at Wethersfield, Four-inHand Club member Jack Wetzel driving a four-in-hand team.

horse lightly to direct its body. The whip is also used to signal other drivers when turning or changing the speed of travel.

This sophisticated and complex system, sometimes called the coachman style, of holding and manipulating the reins adds to the prestige and glamour of the sport of driving four horses.

These park drag coaches, as they are known, were built on the model of those Royal Mail coaches, and were used primarily for showing off and socializing. Each private fourin-hand turnout was accompanied by two grooms in the costume of years ago with faultless breeches, top-boots, and livery coats. The driver sat on what is called the box seat, and the guests rode on “gamon” seats positioned atop the front and rear of the coach body. The grooms rode on a seat supported with iron risers, at the rear, facing forward. All of this splendor was a spectacular sight as these similarly outfitted coaches came promenading through the streets of London, Paris, New York, and Philadelphia, as well as the show rings of America.

Those who had both the funds and the skill to drive a four-in-hand team began to form clubs in the 19th century.

Coaching clubs and four-in-hand clubs were and remain very prestigious and exclusive organizations, whose members enjoy a pastime available only to very few. The sight of the magnificent horses with glimmering polished harnesses attracted onlookers along the roadways and in the show ring.

Part of the glamour of these organizations was—and still is—the “meets,” at which the clubs’ members would gather to show off their skills as well as to dine and socialize at splendid club tables or elaborate picnics in landscaped, manicured 94 QUEST

parks or at private estates. In fact, the “tailgate picnic” gets its origin and name from these privileged persons bringing lavish food and drinks to parks, race meets, and polo matches. The tailgate of a park drag would be lowered, and a drawer (containing the finest of china, silverware, and linens) is slid out of the rear boot. Chilled wine and cold food are pulled from larger collarettes. Hot foods would be carried in crocks positioned on heated iron trivets inside an insulated chest placed on the floor of the interior of the coach.

Wethersfield Farm, in Millbrook, New York, will host such a meet in October. Between October 3 and 6, as many as 10 four-in-hand teams and four pairs will gather for drives, cocktail receptions, and elegant dinners. Only private guests will be able to observe the teams in action; however, Wethersfield gardens are open to the public through September.

The Four-in-Hand Club, more than 100 members strong, was formed in the year 2000 by a group of carriage-driving enthusiasts who loved the history of presenting fine horses to beautiful carriages. The Club currently holds about six or seven meets each year on the East Coast, at which the cameraderie of others with similar interests gives way to parties and dinners that rival the finest in the nation. u This page: Chauncey Stillman provided a postillion-style coach for the opening ceremony of the Royal Winter Fair in Toronto in 1974, carrying Princess Anne and her husband, Capt. Mark Phillips. Opposite page, clockwise from top: The Georgian brick mansion at Wethersfield; Four-in-Hand Club member John White driving a team; the gardens at Wethersfield, with statuary and peacocks roaming the grounds.

A LL I M A G E S CO U RT E S Y O F B A R B A R A TO B E R

EQUESTRIAN

PROFILE

OUTSIDE MILLBROOK, NEW YORK, sits a grand estate known as Wethersfield. An archetype of elegance and environmentalism, combining stunning Italianate gardens, stables, and soil and water conservation, the estate serves as the manifestation of the vision of one extraordinary man.

Chauncey Stillman was born in 1907, a grandson of James Jewett Stillman, who headed the bank that would grow to become Citigroup Inc. He attended Groton and Kent, entered the Harvard College Class of 1929, and received a degree in architecture from Columbia University. In 1939, he married Theodora Moran Jay; together, they had two daughters.

Stillman was a horseman, a yachtsman, an art collector, and a conservationist. He served as commodore of the New York Yacht Club from 1964 to 1966, and merged his other interests by establishing Wethersfield, which he formed by combining adjoining former dairy farms in the late 1930s, and added to over the following years with adjacent properties as they became available. The resulting estate comprises 1,200 acres of formal gardens, stables, and carriage trails, all overlooked by a Georgian-style brick mansion filled with great works of art.

In the 1960s, Stillman, who had long ridden with the Millbrook Hunt, began instead to cultivate an interest in carriage 96 QUEST

driving. He built a carriage house in the courtyard of his stable to hold his growing collection of vintage carriages (over the years, he acquired and restored 22 of them, dating from 1850 to 1910), and kept a stable full of Hackney horses to drive them.

Stillman and his team competed at events including the Devon Horse Show and the Royal Toronto Winter Fair, and also hosted several carriage driving events at Wethersfield. His house guests there were treated to daily afternoon carriage rides on the approximately 20 miles of carriage trails on the estate.

Equestrian pursuits remained a lifelong interest for Stillman.

As he wrote in the Harvard University Class of 1929’s 50th Anniversary Report: “I have long since given up fox-hunting, and more recently, yachting—not in deliberate renouncement, but in neglect of each opportunity as it arose until eventually a negative habit pattern emerged. No longer do I feel impelled to enter horses in competition, exhibitions, and coaching marathons, as I have done until recently. But I still enjoy the leisurely riding and driving of horses (mine are large creatures of the Hackney breed).”

Following Stillman’s death in 1989, Wethersfield is now overseen by a foundation and is open to visitors, and his carriage-driving tradition continues there today. u

A LL I M A G E S CO U RT E S Y O F B A R B A R A TO B E R A N D T H E O D O R A B U D N I K

CHAUNCEY STILLMAN’S EQUESTRIAN ESTATE

This page, clockwise from top left: Chauncey Stillman and one of his granddaughters out for a carriage drive; Stillman on his yacht Westerly; Stillman in 1936; Stillman with his daughters; Stillman with young guests in one of his many carriages; Stillman aboard Westerly; Stillman and guests out for a ride. Opposite page: Stillman with his daughters; Stillman atop Gonaway, a horse he praised as “my greatest hunter,� 1939 (inset).

J E W E L RY

COLORFUL COLLABORATING BRIDGING THE GAP between fashion and fine jewelry, Monica Vinader founded her eponymous line in 2008, which promised accessible jewelry for a new generation of empowered, self-purchasing women. Inspired by her travels abroad and the exotic landscapes and colors of countries like Morocco and India, Vinader’s designs offer a range of contemporary everyday pieces that foster individuality. Without comprising quality, Vinader’s jewelry—which can be stacked, styled, and customized for a personalized look—features reasonably priced diamonds and gemstones that can be worn around the clock.

Since debuting in London, Monica Vinader has developed a global presence, with boutiques in Hong Kong, Dubai, Seoul, Singapore, and New York, including the new Madison Avenue location on Manhattan’s Upper East Side. She also has a strong celebrity following with clients such as Olivia Palermo and the Duchess of Cambridge, who is seen regularly wearing Vinader’s green onyx Siren earrings.

Most recently, Vinader introduced a new collection designed in collaboration with fashion editor and longtime friend Caroline Issa. The partnership began when Vinader was visited by Issa in her studio, who was instantly mesmerized and inspired by the beautiful gemstones. The two, with Vinader’s experience and Issa’s eye for style, became an instant dream team, produc98 QUEST

ing a series of gem droplets in bespoke link chains, pendants, and drop earrings defined by characteristics both women love: juicy colors, natural beauty, and positive energy.

“It was quite a playful process of mixing and matching gemstones and color scales, assembling cocktail earrings that would be so juicy you’d never want to take them off,” Issa says. “The fact that Monica has always worked with gemstones, but in a very polished way, was a huge bonus, and because of our honest working relationship, we were quickly able to get a jewelry collection that felt very us.”

“The line is a reflection of the joy that went into it—it’s vibrant, completely unique, and curated to make you stand out, and each stone is entirely singular, so no two products within this collection are identical,” says Vinader. Issa adds, “One can’t help but be drawn into their light, their deliciousness, their vibrancy. Choosing between the stones was torture, but the end result feels harmonious and magical.” Above all, the collection also aligns with Vinader’s goal of empowering women. The pieces will make women feel “joyful, confident, and fearless,” says Issa.

So whether you’re in jeans or a ball gown, and looking for a joy-inducing touch that will have heads turning, be sure to check out this special, limited edition collection. u

CO U RTE S Y O F M O N I C A V I N A D E R

B Y B R O O K E K E L LY

This page, clockwise from top left: Monica Vinader and Caroline Issa’s new jewelry collaboration celebrates the raw beauty of natural gemstones; Monica Vinader x Caroline Issa Gemstone Necklace in gold; Caroline Issa in India; Monica Vinader x Caroline Issa Gemstone Huggie Earrings in Pink Quartz; Monica Vinader and Caroline Issa in India; Monica Vinader x Caroline Issa Gemstone Large Pendant Adjustable Necklace in Lemon Quartz. Opposite page: Caroline Issa, fashion editor, style icon, and CEO of Tank, and Monica Vinader working on their new jewelry line.

BOB JOHNSTONE’S MJM YACHTS: A SAILOR’S DREAM BOAT B Y S A L LY A N N E S A N T O S

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B I LLY B L AC K ; O N N E VA N D E R WA L

T R AV E L

IN 1977, Bob Johnstone and his brother Rod launched their first and now ubiquitous J/24 racing sloop; founded J/Boats, Inc.; and proceeded to build the world’s leading performance brand of sailboats, with licensed builders in the U.S., U.K., Japan, Australia, Argentina, South Africa, Italy, and France.

Twenty-one of their subsequent designs received Boat-ofthe-Year or Sailboat Hall of Fame honors, and today it’s not unusual for J/Boats to comprise one-third or more of all boats racing at major Race Weeks in America. With more than 40 designs featuring innumerable innovations, and 14,000 boats sailing in 35-plus countries, you’d think that Robert Johnstone would have been ready to retire, relax and go cruising years ago—but not “Bob J.”; first he had to develop the perfect boat for that.

Twenty-five years after the founding of J/Boats, Inc., and with thousands of nautical miles beneath their keels, Bob and his wife Mary sought a motorboat that would suit their needs for quality cruising time together. Their “perfect” powerboat would be beautiful, easily operated, and docked single-handedly, seat three couples in all-weather comfort, and cruise at 25 knots. Not finding their dream boat on the market, Bob founded MJM Yachts to create their own. (MJM is an acronym for Mary Johnstone’s Motorboat.) Starting in 2002 This page, from top: A line drawing of the MJM 53z; the fully enclosed pilothouse; the helm position within the pilothouse. Opposite page: Bob Johnstone’s MJM 53z flagship, Breeze, on Narragansett Bay at Newport’s Pell Bridge.

with the development of the classic 34z, then following with a 29z, 40z, and 36z, they upscaled to the 50z, then took on the outboard market with a 35z, 43z, and 53z. Each design has been lauded for its combination of great looks, performance, comfort, and versatility. The newest addition to the outboard express cruiser line is the MJM 53z: the largest, fastest, and most innovative model to date.

It was my great pleasure to ride along with Bob and Mary on their MJM 53z flagship, Breeze, during the recent 12 Metre World Championship regatta in Newport, Rhode Island, at which MJM Yachts was a sponsor. The Johnstones had generously donated the use of several MJM yachts as support boats for the event, and I was lucky enough to be stationed onboard the International Jury boat. On first impression, aside from her stunning outward appearance and impressive quad Mercury 400 Verado outboards, I was struck by the total ease of boarding with armloads of gear through a floating dockheight side door in her topsides. As a photographer, once onboard I immediately appreciated the open, flush deck layout with 360-degree visibility, including from within the fully windowed pilothouse that also contained a dining table and comfortable seating for at least 12—all protected from the weather. Stowing my gear below, I noticed a spacious contemporary galley and two generously sized master cabins, both fitted with en-suite heads, including glass-walled showers.

Once underway and clear of the harbor, we enjoyed a fast run to the racecourse on Rhode Island Sound. The MJM 53z easily achieves a speed of zero to 20 in seven seconds, with a top cruising speed of 50 mph, and yet it was surprisingly 102 QUEST

quiet in the pilothouse. Even with their racy performance stats, MJM Yachts is equally committed to environmentally responsible yachting and boat building techniques with a major focus on energy efficiency; some MJM models consume only half as much fuel as motor yachts of equal size.

With the Seakeeper gyrostabilizer* engaged, the boat was remarkably balanced and without rolling, even in a choppy sea. Her sleek hull seemed to slice through the water with an ease and elegance similar to that of the 12 Metre yachts we followed around the windward-leeward racecourse. Upon consideration, it’s no surprise as this extraordinary vessel is the brainchild of one of the most accomplished and acclaimed makers of racing sloops. While cruising alongside the upwind sailing fleet, the ride was so smooth that it seemed as though the sea was merely gliding out from underneath us as we and the racing yachts on our beam were standing still.

Bob and Mary Johnstone were the most gracious of hosts, and it was both an honor and my pleasure to be a guest aboard their spectacular new creation. The MJM 53z is an absolute dreamboat, and as a sailor and yachting photographer, I am now officially spoiled for all others. u *Seakeeper gyrostabilizer: a device inside the boat that consists of a 900 lb. rotor spinning horizontally in a vacuum at 9,000 rpm that turns the boat into a rock, so waves can’t cause a sideto-side roll. The device is gimballed fore and aft to be able to go over waves. Predecessor to the 53z, the MJM 50z was the first yacht worldwide to make a Seakeeper standard equipment when introduced in 2014.

B I LLY B L AC K ; N A N C Y B LO O M ; O N N E VA N D E R WA L

T R AV E L

This page, from above: Breeze’s spacious galley; the author shooting photographs from aboard Breeze, which served as the International Jury boat at the recent 12 Metre Championship Regatta in Newport, Rhode Island. Opposite page: Breeze slices through the water with ease and elegance.

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HANDSOME’S HISTORICAL HOMES

CO U RTE S Y O F H A N D S O M E P RO P E RT I E S

DEBORAH C. FISHER, broker-in-charge of acclaimed real estate firm Handsome Properties, discusses the Charleston real estate market and its many historical treasures.

Quest: Tell us about Charleston’s rich history and how it relates to the homes Handsome Properties represents.

Debbie Fisher: The colony of “Charles Towne” was originally granted by King Charles II of England to eight Lords Proprietors in 1663. The City Plan, also known as the “Grand Model,” was established in 1670 and is still in place today at the heart of the historic district of Charleston. By 1750, this bustling colonial settlement prospered with many settlers moving from England, Barbados, and Virginia and became the fourth largest port in the colonies through exports of rice, indigo, and cotton. This vibrant new colony with its economic opportunity also enjoyed religious freedom, attracting settlers from the Caribbean, France, Scotland, Ireland, and Germany, allowing freedom to practice religious faiths such as Protestantism, Catholicism, and Judaism.

With these gifted and intelligent immigrants came expertise and knowledge in architecture, building techniques, ironwork, carpentry, and plasterwork. This great body of early craftsmanship is still evident in the city of Charleston today with its luxurious 17th, 18th, and 19th century mansions, plantations, churches, and buildings. Charleston remains a vibrant, refreshing southern city with tolerance, diversity, and magnificent beauty for all.

This page: 75-77 Church Street is a single residence in the “Old Walled City,” ideally located “South of Broad” near historic churches, Broad Street, and Rainbow Row. The property includes a brick carriage house from 1810, and overall comprises 5,929 square feet, with six bedrooms, and five full and two half bathrooms. The estate is completely gated. Listed for $3,985,000.

Opposite page: The 19th century federal-style double house at 36 Chapel Street is surrounded by beautiful gardens and resembles a plantation house. The 5,490-square-foot estate includes four bedrooms, three full and one half bathrooms, and is located in the heart of the city. Offered at $2,850,000.

Q : Tell us about the historic properties listed with the firm.

DF: 36 Chapel Street is a double house from the early 19th century, federal in style, and is a perfect example of the expertise and craftsmanship that existed during that time period. It is laid SEPTEMBER 2019 105

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out much like a plantation house and still includes beautiful gardens that wrap the entire property behind a large privacy fence.

117 Broad Street, or the current Governor’s House Inn, was built in the Georgian style in 1760 near the Four Corners of Law, in the center of the historic district. Established as a grand residence of approximately 9,887 square feet, it is currently an inn, which could easily be converted back to a private home.

75-77 Church Street is a single residence in the section of the historic Peninsula known as the “Old Walled City.� This property also includes a brick carriage house that dates back to 1810.

The residence and carriage house comprise approximately 5,929 square feet, including six bedrooms. These two structures are considered valuable and notable to the city.

32 Legare Street, also known as the Sword Gate House, is one of the largest estates on the Peninsula. This 17,000+ square-foot estate, dating back to the late 18th century, includes a large main residence and carriage house with three suites. The Sword Gate House, named for its grand gated entrance, is considered one of the finest estates in Charleston, and is located on one of the most exclusive streets South of Broad.

Q: Beyond real estate, what does Charleston have to offer?

DF: Charleston has become a major culinary destination with many award-winning restaurants and renowned chefs; it also hosts a very popular food and wine festival every year. There is a strong arts community with many galleries and performing arts centers. The mild winter climate allows for many outdoor activities such as visiting the beautiful beaches, sailing, and fishing. u For more information, visit handsomeproperties.com, or contact Deborah C. Fisher at 843.727.6460.

CO U RTE S Y O F H A N D S O M E P RO P E RT I E S

Q: Why have these homes sustained their value over centuries?

DF: The location in the city center of Charleston has always been the exclusive address for residences since the 18th century. Also, the historic architecture, condition, and craftsmanship have contributed to maintaining the value of these historic estates.

This page: 117 Broad Street, now the Governor’s House Inn, is a Georgianstyle structure in the historic district that can easily be converted back to a residence. At 9,887 square feet, the 12 bedroom, and 12-1/2 bathroom inn was altered in the latter part of the 19th century and retains architectural details from the Colonial and the Postbellum Period. This large estate is located near luxury shopping, restaurants, and the Gibbes Museum of Art. Listed for $8,300,000. Opposite page: One of the most coveted estates in Charleston, 32 Legare Street, the Sword Gate House, is one of the largest estates on the Peninsula and dates back to the 18th century. Boasting more than 17,000 square feet, the estate features nine bedrooms, 12 full bathrooms, and three half bathrooms, and stunning architecture with a reflecting pond, croquet lawn, and hidden gardens. The renovated estate is listed at $14,999,000.

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OPEN HOUSE

STONE WALLS FRAME the gated entry to this extraordinary waterfront estate in the Belle Haven neighborhood of Greenwich, Connecticut, encompassing more than five exquisite acres on a private road with extensive 681 feet of shoreline on Greenwich Harbor. The property features a one-bedroom guest cottage, a deep water dock, a two-story oak-paneled barn, and a heated pool by noted architect John Murray, which is complemented by a wisteria-draped pergola.

Designed by Martha Baker, the property is punctuated by a vibrant array of perennial gardens, sculptured specimen shrubbery, flowering trees, and sprawling expansive open lawns—presenting a visual feast of horticultural splendor.

Classic elegance untarnished by the passage of time defines the richly detailed 1939 residence by noted 20th century architects Henry O. Chapman, Jr. and Harold Beder, the original home of Oliver D. Mead. Renovated and expanded to more than 8,100 square feet of beautifully scaled living space by the current owners, it showcases sophisticated interiors by esteemed designers Cullman and Kravis, with 108 QUEST

panoramic water views from most main floor rooms—many opening to a magnificent wraparound waterfront terrace with a fireplace providing splendid indoor and outdoor entertaining. The elegant and formal living and dining rooms, handsome library, stunning great room with builtins and a coffered ceiling, and four-season radiant-heated solarium, also designed by John Murray, all feature wood burning fireplaces. The family room is walled with windows and adjoins a gourmet custom kitchen centered by two granite islands.

The seven bedrooms, served by eight baths, include a luxurious master suite with a fireplace, his and her master baths, and walk-in custom closet; a private suite ideal for guests; and a charming children’s bunk room with built-ins.

The rooftop features a captain’s walk with amazing vistas across Long Island Sound. u For more information, contact Sally Maloney at 203.962.2100 or smaloney@houlihanlawrence.com.

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23 SMITH ROAD

This page, counterclockwise from above right: The library at 23 Smith Road in Greenwich, Connecticut; the oak-paneled barn; the home’s family room; the property features a pool and an array of gardens, flowering trees, shrubbery, and expansive lawns. Opposite page: 23 Smith Road in Greenwich, Connecticut is listed with Houlihan Lawrence for $39,500,000. The property encompasses more than five acres and sits on the shoreline of Greenwich Harbor.

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SEPTEMBER

On September 12, the Newport International Boat Show will take place over 13 acres of Newport’s downtown waterfront through September 15. Guests will be able to view exhibitors offering a range of new powerboats, sailboats, and more. For more information, visit newportboatshow.com.

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YAPPY HOUR

Each Tuesday throughout September, the Heineken Riverdeck will welcome guests and pups for $5 Heinekens, a puppy pool, photo ops, and giveaways. For more information, visit pier17ny.com.

and many more will walk the runway in designer clothes at 6 p.m. to support Laureus’ mission to improve the lives of youth and unite communities through the power of sport. The evening will also feature top entertainment from a renowned D.J., and an

award ceremony honoring Michael Novogratz. For more information, visit laureususa.com.

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A PALEY CELEBRATION

The Paley Center for Media will host its A Paley Honors Luncheon

5

WORKS & PROCESS

The Performing Arts Series at the Guggenheim, Works & Process, will kick off its Fall 2019 Season.

For more information, visit guggenheim.org.

NEWPORT BOAT SHOW

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SAN FRANCISCO OPERA

The San Francisco Opera Guild will open its 2019 season with a spectacular evening of magnificent opera, fine dining, and dancing at War Memorial Opera House at 5 p.m. For more information, visit sfopera.com.

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LAUREUS FASHION SHOW

Star athletes, including Tony Hawk, Nadia Comaneci, Marcus Allen, Sanya Richards-Ross, Edwin Moses, 110 QUEST

Celebrating Michael Douglas at 12 p.m. The event will toast the career of the Emmy AwardWinning actor, especially for his work on television, including Behind the Candelabra, The Streets of San Francisco, and most recently his much lauded role of Sandy Kominsky on Netflix’s The Kominsky Method. Proceeds will benefit The Paley Center for Media’s education initiatives.

For more information, email jamithafields@paleycenter.org or call 212.621.6732.

On October 7, the New York Philharmonic will host its annual fall gala at David Geffen Hall at 7:30 p.m. For more information, visit nyphil.org.

The Newport International Boat Show will take place over 13 acres of Newport’s downtown waterfront through September 15.

Guests will be able to view exhibitors, from near and far, offering a full range of new powerboats and sailboats, plus a medley of marine products, services, and accessories to enhance the nautical lifestyle.

Special events, seminars, and in-water boating courses for the whole family are offered on all show days. For more information, visit newportboatshow.com.

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IMMIGRATION STORIES

CUNY Dance Initiative and John Jay College in collaboration with Mari Meade Dance Collective will present the world premiere of Immigration Stories, a series of dances based on true experiences about relocating to the United States, at the college at 7:30 p.m.

For more information and to purchase tickets, visit cuny.edu.

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PEGASUS CHARITY CUP

Haviland Hollow Farm will hold the 10th Annual Pegasus Charity Cup. In addition to a thrilling polo match, there will be dinner, games, prizes and awards, a silent auction, a D.J., and dancing. For more information, visit nycpolo.com.

On October 3, New Yorkers for the Children will host its Annual Fall Fête at Highline Stages at 6:30 p.m. For more information, visit newyorkersforchildren.org.

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ROLEX HORSE SHOW

The annual Rolex Central Park Horse Show will take place at the park through September 22.

Rolex Central Park Horse Show is an outdoor, multi-day equestrian sporting event in New York City, showcasing some of the best show jumpers and dressage riders in the world as they vie for top prizes against a backdrop of skyscrapers in one of the world’s most iconic

venues. For more information, visit cphs.coth.com.

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FAREWELL SUMMER

Casa de Campo Resorts & Villas will host its Farewell Summer party at Altos de Chavón at 5 p.m.

The event will feature a treasure hunt for children and meals from the area’s restaurants, Chilango

Taqueria and La Piazzetta.

For more information, visit casadecampo.com.do.

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SARATOGA FESTIVAL

The Center for Urban Community Services (CUCS) will hold its Rock to Rise 2 concert at the Cutting Room at 7 p.m. The evening will benefit CUCS’ programs and services that help New Yorkers rise from poverty, exit homelessness, and be healthy.

For more information, email cucsinfo@cucs.org.

The Saratoga Food and Wine Festival will take place at 5 p.m. and will celebrate the bounty of the region, from the Hudson Valley to the Adirondacks, with curated gourmet tastings that focus on sustainability, international wine and local distillery and brewery tastings, art and performances by musicians, and more. For more information, visit spac.org.

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The Baruch Performing Arts Center at Baruch College will open its 2019/2020 season at 7 p.m. There will be an open bar, a D.J., and a silent auction to help raise critical funding for New York City’s abused and neglected children. For more information and to purchase tickets, visit baruch.cuny.edu.

The New York Landmarks Preservation Foundation will hold its annual “Lunch at a Landmark,” honoring Annabelle Selldorf. For more information, visit nylpf.org.

ROCK TO RISE

BARUCH ARTS

OCTOBER 3

FOR THE CHILDREN

On September 6, the San Francisco Opera Guild will open its 2019 season with an evening of opera, dinner, and dancing at the War Memorial Opera House at 5 p.m. For more information, visit sfopera.com.

more information, visit newyorkersforchildren.org.

New Yorkers for the Children will host its Annual Fall Fête at Highline Stages at 6:30 p.m. Each year, the benefit raises funds to pilot and implement innovative programs that will improve outcomes of youth in the child welfare system with a focus on foster care. For

LUNCH AT A LANDMARK

NEW YORK PHILHARMONIC

New York Philharmonic will host its annual fall gala at David Geffen Hall at 7:30 p.m. This year’s event will feature piano superstar Lang Lang. Founded in 1842, the New York Philharmonic is the oldest symphony orchestra in the United States. Each season, the orchestra connects with up to 50 million music lovers through live concerts around the world, international broadcasts, Decca Gold albums and digital recordings, and education programs. For more information, visit nyphil.org.

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P R O D U C E D , S T Y L E D , A N D W R I T T E N B Y B R O O K E K E L LY PHOTOGRAPHED BY JULIE SKARRATT BEAUTY BY ANGELO DAVID SALON HAIR BY C A SIE MORGAN AND RISAKO ITAMOCHI, FEATURING T3 MICRO MA K E U P BY S E I YA I I B U C H I , F E AT U R I N G M . A . C CO S M E T I CS

A FASHIONABLE FORCE We spent a day filled with fashion and fun at the Baccarat Hotel and The Skylark with Indré Rockefeller and Wes Gordon.

WITH HER EFFORTLESS poise and keen eye for style, it comes as no surprise that Indré Rockefeller was selected as Anna Wintour’s assistant at Vogue—a position that served as a foundation and springboard for her later accomplishments in the cutthroat world of fashion. After her gig in publishing and her time at Stanford Business School, Indré returned to New York and took on leadership roles at Moda Operandi and subsequently Delpozo. Both positions constantly had her on the road, which was where she discovered her current passion.

In 2016, Indré founded luxury luggage line Paravel, where she currently serves as co-chief executive officer and creative director. “The travel goods market is large, fragmented, mostly masculine, and decidedly unsexy. The vast majority of people treat their luggage as a means to an end; yet, given how much time they spend on the road, most people are looking for something more,” Indré tells me. “At Paravel, we design travel bags that are durable enough to stand up to overhead bins yet beautiful enough to stand out on the streets without compromising design, quality, or price.”

For this issue, we spent the day with Indré at the Baccarat Hotel and The Skylark rooftop bar, as she toted some of Paravel’s most coveted pieces as well as some of her favorite fall items from top fashion designers. To Indré, a brand’s success is determined by the way in which the designs make you feel, and those that generate joy—whether through use of color, innova112 QUEST

tive silhouettes, or a simple sense of playfulness—are the most powerful. So, it stands to reason that Carolina Herrera’s styles were among her top picks. As she posed in the brand’s looks, we were joined by her dear friend and creative director Wes Gordon, who has been modernizing Carolina Herrera with youthful colors and prints since taking on the position last year.

Indré had long known that Wes was a designer to watch, capable of thoroughly rethinking the “ladies who lunch” look for the modern era with a blend of lightheartedness and elegance.

Yet, their relationship today goes far beyond fashion—they’ve developed a lifelong friendship, which is apparent in the natural ease with which they share the camera together. “While Wes’ capabilities were immediately clear in his work, as I got to know him, I realized the power of his designs came from his own unassuming sense of humor and playful mischievousness that also formed the basis of our friendship,” says Indré.

Sometimes with people as with fashion, it’s an effortless relationship, and in this case, Indré got two for one. Flip through these pages for some of these feel-good looks, and fall fashion inspiration from the experts themselves. u Opposite page: Indré Rockefeller at the Baccarat Hotel, wearing Oscar de la Renta’s long-sleeve striped knit turtleneck dress, Oscar de la Renta’s cognac rugby ankle booties, Paravel’s Crossbody Capsule bag in Derby Black, and Vhernier’s Calla Earrings in 18-kt rose gold and ebony.

Indré Rockefeller and Wes Gordon, Carolina Herrera’s creative director, at The Skylark rooftop bar in Midtown.

Indré wears Carolina Herrera’s LongSleeve Satin Jacquard Cut-out Gown in Flamingo and Lusso by Fabio Angri’s Baroque Pearl and Diamond Butterfly Drop Earrings.

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This page: Indré Rockefeller at the Baccarat Hotel wearing Brunello Cucinelli’s striped brushed knit poncho and belted leather mini skirt in blue, Vhernier’s Gocce earrings in 18-kt rose gold, corelian, and rock crystal, and Vhernier’s Vague ring (left).

She holds Paravel’s Weekender bag in Domino Black. Opposite page: Indré Rockefeller at the Baccarat Hotel wearing La Ligne’s Fuzzy Wuzzy Funnel Neck Sweater in grey, Veronica Beard’s Debbie jeans in Raven, and Vheriner’s Plateau earrings in 18-kt rose gold, corelian, and rock crystal.

She holds Paravel’s Crossbody Capsule bag in Domino Black.

This page: Indré Rockefeller at the Baccarat Hotel wearing Polo Ralph Lauren’s black Satin Dress and Lusso by Fabio Angri’s 18-kt yellow gold Tiger Earrings with black diamonds. Opposite page: Indré Rockefeller at the Baccarat Hotel wearing Carolina Herrera’s Sapphire Multi V Neck Embellished Waisted Dress and Wempe’s statement diamond bangle in 18-kt white gold and statement diamond drop earrings in 18-kt white gold.

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This page: Wes Gordon twirls Indré Rockefeller, who is wearing Carolina Herrera’s Draped Tulle One-Shoulder Gown in Shell Pink and Verdura earclips with canary yellow and white diamonds at The Skylark. Opposite page: Indré Rockefeller at the Baccarat Hotel wearing Gabriela Hearst’s Lauren Wrap, Philippe Cashmere Boucle Sweater, and Pablo Cashmere Boucle Skirt in Oatmeal; Gabriela Hearst’s Danila boots in Dark Camel; Vhernier’s Tonneau earrings in 18-kt rose gold; and Wempe’s Dream Dancer by Kim Ring in 18-kt rose gold.

She holds Paravel’s Valise Handbag in Scout Tan.

This page: Indré Rockefeller at the Baccarat Hotel wearing Johanna Ortiz’s Follow the Drums Embroidered Dress in green and Vhernier’s 18-kt rose gold Vague ring. Opposite page: Wes Gordon at The Skylark with Indré Rockefeller, who is wearing Carolina Herrera’s Evergreen Silk Embellished Fitted Skirt and Taxi Cab Yellow Tuxedo Shirt, and Vhernier’s Vague ring.

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This page: The cloisters

would later shape the design of Chanel’s villa on the Cote d’Azur. Opposite page: Chanel in the laven-

J O H N Y O U N G ; A L A MY / G R A N G E R H I S TO R I C A L PI C T U R E A R C H I V E

A LL I M A G E S F RO M L I V I N G W I T H C O C O C H A N E L ( W H I TE L I O N P U B L I S H I N G , 2 0 1 9 ) :

and gardens of lavender at the abbey of Aubazine

der fields of her villa, La Pausa, with dog Gigot, 1930; the cover of Living with Coco Chanel (White Lion Publishing, 2019).

CHANEL: HER LIFE, LOCATIONS, AND LEGACY

BY KATHRYN MAIER

have been the inspiration for the double C Chanel logo; A poster for the 1896 production of La Dame aux Camélias, starring Sarah Bernhardt, which transfixed young Coco; Chanel in 1910, wearing a gown made of white satin, the favored fabric for draping in her Avenue Gabriel apartment.

Opposite page: A program for the Ballets Russes in 1911, for which Chanel later designed costumes.

A L A MY / H I S TO R I C CO LLE C T I O N ; A L A MY / A LL S TA R PI C T U R E L I B R A RY; A L A MY / LO R D P R I C E CO LLE C T I O N

dows at the abbey of Aubazine may

A LL I M A G E S F RO M L I V I N G W I T H C O C O C H A N E L ( W H I TE L I O N P U B L I S H I N G , 2 0 1 9 ) : J O H N Y O U N G ;

This page, from above: The win-

WE ARE ALL SHAPED by our places and circumstances, particularly those of our formative years. Caroline Young, in Living with Coco Chanel (White Lion Publishing, Sept.

2019), provides fascinating insight into the life and locations of fashion designer and businesswoman Gabrielle (“Coco”) Chanel, and how they gave rise to her career and designs.

From Chanel’s teenage years spent in an orphanage at the abbey of Aubazine, which forged her penchant for elegant austerity, to the summers she spent in the Scottish Highlands with the Duke of Westminster in the late 1920s that spurred her tweed-heavy collections, Young explores— supported by drawings, archival images, and contemporary photographs—how Chanel’s groundbreaking designs were inspired and influenced by her surroundings. She details how the inspiration for the linked double Cs of Chanel’s logo may have arisen from the abbey’s leaded-glass windows; and how Chanel’s 1926 debut of her “little black dress,” instantly rendering black the most fashionable color, harkens back to her uniform at the convent; and how the colors of the glimmering Mediterranean in front of Chanel’s villa on the French Riviera (its architecture deliberately echoing that of the abbey), and of the flowers in her gardens there, worked their way into her sequined evening gowns of the 1930s.

Chanel often omitted when recounting her biographical details that she and her two sisters were abandoned to a convent orphanage at the abbey of Aubazine in their childhood, following the death of their mother; it was Chanel’s home between the ages of 12 and 18. Young persuasively posits that Chanel’s years there were by far the most significant influence on her designs. There, whitewashed corridor walls contrasted with the black-painted doors; the nuns wore black-and-white habits; the girls’ uniforms comprised black skirts with white blouses. “The convent at Aubazine offers a glimpse into the creative mind of Chanel. It was from her memories here that she created many of her signature pieces, including her black, white, and beige colour scheme,” the author conjectures. Chanel herself is quoted as having told a biographer, “Years have gone by, and it is only now that I realize that the austerity of dark shades, the respect for colors borrowed from nature, the almost monastic cut of my summer alpaca wear and of my winter tweed suits, all that puritanism that elegant ladies would go crazy for, came from [the abbey].”

Indeed, Chanel’s entire life and career could be viewed as both a reflection of and an emancipation from the poverty and restrictions she endured at Aubazine. She began her career in an era when women were becoming more independent—working, playing sports, even driving cars—and her nonrestrictive designs liberated women for these pursuits; while setting trends both groundbreaking and enduring, she ensured her own independence as well as that of the wearers of her clothes. As Coco Chanel found success and fame, she drew upon the memories of her past to forge fashion’s future. u

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BROOKLYNBORN STYLE

BY KATHRYN MAIER

This page: J.McLaughlin’ Haarlem Dress, Reed Scarf, Mila Heels, and Chiara Sunglasses are right at home in Brooklyn’s DUMBO neighborhood; J.McLaughlin’s cofounder and creative director Kevin McLaughlin with a model in the brand’s Greenpoint studio (inset). Opposite page: The Lenora Dress and Camila Boots (on her) are perfect for a stroll over the Brooklyn Bridge.

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CO U RTE S Y O F J . M C L AU G H L I N

THE PREPPY-CHIC BRAND has become a staple from Back Bay to Palm Beach, but this autumn, J.McLaughlin returns to its Brooklyn roots. In its fall catalog, the brand explores its home borough, photographing its new collection against iconic Brooklyn backdrops like the Brooklyn Bridge, at popular destinations such as the River Café and the happening Wythe Hotel in Williamsburg, and in favorite neighborhood joints like Paulie Gee’s and Peter Pan Bakery.

“Brooklyn is important to our brand: It’s the location of our corporate offices and it’s where my brother Jay and I essentially started our business,” Kevin McLaughlin, the brand’s cofounder and creative director, tells me. “I felt very strongly that telling the brand’s fall story through the Brooklyn lens was the perfect way to do it.”

Brooklyn is, indeed, where the brand got its start back in 1977. The HQ is sited in a 1920s-era brick warehouse This page, clockwise from above left: In Williamsburg’s Domino Park, she CO U RTE S Y O F J . M C L AU G H L I N

wears the Fien Coat, Arlo Tunic, Lori Legging, and Domina Leather Mule, while he sports the Yates Jacket, Westend Shirt, Dome Belt, and Joshua Jean; taking a break in front of Cafe Gitane in Vinegar Hill in the Elodie Blouse, Watson Pant, and Dillon Loafers, with the Picnic Satchel; navigating the city in the Journee Poncho, Cabot Turtleneck, and Lexi Jean. Opposite page: Grabbing one of Brooklyn’s best slices at Paulie Gee’s Slice Shop in the Westend Shirt and Parker Pant (on him) and the Sage Dress (on her).

“The rules are much looser in Brooklyn than what we’re used to, so they serve as an inspiration.”

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This page, from left: Get set for autumn walks in the Rigg Sweater, Jaipur Scarf, Becca Legging, and Domina Leather Mule, and the Lenny Sweater, Ida Belt, Becca Leggings, and Mercer Flats; the equestrian-printed Lois Shirt and Sienna Clutch transition seamlessly from Brooklyn to Bridgehampton. Opposite page: Make a splash in mixed prints with the Lois Shirt, Lucy Skirt, and Kat Kitten Heels; the Lois Shirt, Lori Legging, Zoe Tote, and Chiara Sunglasses.

colors that allow customers to express their own personal style—très Brooklyn.

Shining this spotlight on its home borough doesn’t mean the brand is neglecting the rest of the country, though: J.McLaughlin is looking forward to soon reopening its Madison Avenue flagship after an extensive renovation, and is also opening stores in Maui, Mill Valley, Santa Monica, and in Hanover, New Hampshire—“I’m excited about that store,” McLaughlin says. “I love that academic setting for the brand.”

Brooklyn, however, remains the heart of the brand. “Brooklyn is evolving all the time,” says McLaughlin. If J.McLaughlin’s fall collection is any evidence, the real similarity between the brand and the borough is this: Both change enough to stay interesting, but retain the classic timelessness that made people fall for them in the first place. u

CO U RTE S Y O F J . M C L AU G H L I N

in Greenpoint, a former factory, which now houses J.McLaughlin’s offices, design studio, and manufacturing facilities. Brooklyn is also where the brand’s design team gathers inspiration.

“Walking over to Bedford Avenue for lunch, you will definitely see a more advanced fashion trend than what we would normally do,” McLaughlin tells me, “but we need to see that trend so that we can interpret it. This brand’s responsibility is to bring our customers as close to fashion as they want to go without taking them over the edge. So seeing it in a more advanced way will help inspire us. The rules are much looser in Brooklyn than what we’re used to, so they serve as an inspiration.”

As an example, he cites the playful mixed patterns of an animal-printed blouse paired with a tie-striped skirt (shown here on opposite page). “That sort of juxtaposition of pattern work is something that I take out of Brooklyn.”

He’s also fond of the Fien coat, with its “outrageous” color combination of chartreuse and blue on black. “I think that’s a fabulous piece,” he says. It’s a perfect example of the brand’s intentions with the current collection: more urban and sophisticated, while including some attention-grabbing

BY ELIZABETH MEIGHER

“The beauty of a woman is not in the clothes she wears, the figure that she carries, or the way she combs her hair.

The beauty of a woman is seen in her eyes, because that is the doorway to her heart, the place where love resides. True beauty in a woman is reflected in her soul. It’s the caring that she lovingly gives, the passion that she shows and the beauty of a woman only grows with passing years.” —Audrey Hepburn 134 QUEST

J U L I E S K A R R AT T / Q U E S T P H OTO A R C H I V E S

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DA I LY M A I L / R E X / S H U T TE R S TO C K ; B O U D E W I J N S M I T P H OTO G R A P H Y; G I A N N I F E R R A R I / COV E R / G E T T Y I M A G E S ; S L I M A A RO N S / H U LTO N A R C H I V E / G E T T Y I M A G E S

This page, clockwise from above: Prince Harry, Prince William, and Prince Charles with Housemaster Dr. Andrew Gailey on William’s first day at Eton, 1995; Dexia Bank advertisement photographed by Boudewijn Smit; Elena, daughter of Prince Juan Carlos of Borbon and Sofia of Greece, gets help riding a bike in Madrid, Spain, 1969; the Barrett family enjoys a picnic in the Arizona desert, 1978. Opposite page: Amanda Hearst wearing Ralph Lauren at The Highline Hotel, photographed by Julie Skarratt for the September 2014 issue of Quest.

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Lauren Santo Domingo in Paris, 2019; Porfirio Rubirosa with his wife (left) and society maven Anne Slater (right), 1961; well-heeled diners at The Four Seasons restaurant (recently closed) in August 1959; Prince Albert, Princess Stéphanie, and Princess Caroline (looking very much like her daughter, Charlotte Casiraghi, on the opposite page) walk behind their mother, Princess Grace of Monaco, 1978. Opposite page, clockwise from far left (inset): Elizabeth Taylor, Guy de Rothschild, and Marie-Hélène de Rothschild in Paris, 1968; Barbara Hutton with her second husband, Count Reventlow, circa 1940; Charlotte Casiraghi wearing Saint Laurent at her wedding to film producer Dimitri Rassam, June 1, 2019; Leigh Lezark, Olivia Palermo, Harley Viera-Newton, and Zani Gugelmann at Waverly Inn, 2017.

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A P I M A G E S ; © LO N D O N _ E T _ PA R I S ; M I C H E L D U F O U R / W I R E I M A G E ; B E T TM A N N V I A G E T T Y I M A G E S ; G R AC E A N D FA M I LY. T U M B L R . CO M ; RO N G A LE LL A , LT D . / RO N G A LE LL A CO LLE C T I O N V I A G E T T Y I M A G E S ; S H U T TE R S TO C K ; M O M E N TO S FM 10 0 5 . CO M ; N E I L R A S M U S / B FA . CO M

Clockwise from top left: The Beatles arriving at Kennedy airport in 1964;

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© CO R N E LL C A PA © I N TE R N AT I O N A L C E N TE R O F P H OTO G R A P H Y / M A G N U M P H OTO S

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This page, bottom: a cocktail party at George Plimpton’s Upper East Side apartment, New York City, 1963. Plimpton is seated at left with literary agent Maggie Abbott next to him. At top, left to right: Jonathan Miller, Gore Vidal, Ricky Leacock, Robert Laskey, and Paul Heller. In background, left to right: Ralph Ellison and Peter Matthiesen. Center: Walter Bernstein (seated on couch with back to camera); Sydney Lumet (behind Bernstein to right), Mario Puzo (leaning against mirror), Jack Richardson (tall man, front, right foreground), Arthur Kopitt (foreground, right), Frank Perry (left of Kopitt), Eleanor Perry (left of Frank), Arthur Penn (obscured behind Eleanor), and Truman Capote (center on couch).

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E V E N I N G S TA N DA R D / G E T T Y I M A G E S ; A P P H OTO / H A M I LTO N W R I G H T; G I LLE S B E N S I M O N / PA R I S M ATC H ; D O U G L A S M I LLE R / K E Y S TO N E / G E T T Y I M A G E S ; K E Y S TO N E / G E T T Y I M A G E S

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Clockwise from top left: Henry B. Cabot Jr. (in black) with his host, Barclay (“Buzzy”) H. Warburton III (in striped shirt), aboard the brigantine Black Pearl, circa 1959; Jackie Onassis in Capri, July 1972; a young Diana Spencer poses cheekily for the camera, circa 1968; Querube Clark and Grace Meigher walk the streets of Capri, 1990; sisters Catherine Deneuve and Françoise Dorléac at the Cannes Film Festival, 1965. Opposite page, clockwise from above: The Supremes—Mary Wilson, Florence Ballard, and Diana Ross—arrive at London’s Heathrow Airport, 1968; a floating luncheon on the isle of Capri, off Naples, Italy, September 1, 1939; Ariana Rockefeller rides Out of Beag in Wellington, Florida, 2018; a restaurant car on a British Railways train in Waterloo Station, London, 1949; Frank Sinatra, S L I M A A RO N S / G E T T Y I M A G E S ; ( S P E N / A L ) / C A M E R A P R E S S / R E D UX PI C T U R E S ; A P I M A G E S

talking and sharing cocktails with Jill St. John, his co-star in the film Tony Rome, 1971.

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J U L I E S K A R R AT T / Q U E S T P H OTO A R C H I V E S ; RO N G A LE LL A / RO N G A LE LL A CO LLE C T I O N V I A G E T T Y I M A G E S ; S H U T TE R S TO C K ; B E T TM A N N V I A G E T T Y I M A G E S ; B O B W I LLO U G H BY / CO U RTE S Y O F H B O

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PAT R I C K L I C H F I E L D / CO N D É N A S T V I A G E T T Y I M A G E S ; K E Y S TO N E - F R A N C E \ G A M M A - R A P H O V I A G E T T Y I M A G E S ; I N TE R N AT I O N A L M A G A Z I N E S E RV I C E S P H OTO A R C H I V E V I A A M A Z O N . CO M

STYLE

Clockwise from top left: Mrs. John Hay Whitney and Mrs. William Paley playing golf in the Bahamas, 1968; Queen Elizabeth II and Prince Philip share a laugh, 1963; Desmond Guinness with his children, Marina and Patrick, at Leixlip Castle, County Kildare, Ireland, 1963; Mrs. Patrick Guinness, formerly Princess Dolores von Furstenberg (right), with Countess Mercedes De Bendern, 1963. Opposite page, clockwise from top: Day trippers in Greenwich, photographed by Julie Skarratt for the June 2017 issue of Quest; Jane Fonda and Roger Vadim in Paris with their newborn baby, Vanessa Vadim, 1968; Prince William holds hands with Prince George and Princess Charlotte, 2018; Fiat car manufacturer Gianni Agnelli, French newsman Gilbert Graziani, Prince Radziwill, Lee Radziwill, and First Lady Jackie Kennedy at a cafe in Ravello, 1962; Dustin Hoffman and Mike Nichols on the set of The Graduate, 1967.

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This page: The “rocket” at Chanel’s Ready-to-Wear Fall/Winter 2017 show, after which the photographer produced an image blending Chanel’s prop rocket with actual footage from real NASA rocket launches.

Opposite page: The cover of Lagerfeld: The Chanel Shows (Rizzoli, Sept. 2019).

© L A G E R F E L D : T H E C H A N E L S H O W S BY S I M O N P RO C T E R , R I Z Z O L I N E W Y O R K , 2 0 1 9

FASHION’S GREATEST STAGES B Y K AT H R Y N M A I E R THE REVERED AND PROLIFIC fashion designer Karl Lagerfeld died this past February, leaving a legacy through his work: his fashion, certainly—and also the creative and dramatic shows in which he put those fashions on display.

He made rocket ships complete with “blast-off”; he transformed Le Grand Palais into a Provençal villa, a giant Parisian brasserie, an autumn wood with real leaves blanketing the ground, an ersatz grotto with hundred-foot-high waterfalls cascading over the side of a cliff into a pool below, a tropical paradise with actual waves lapping against actual sand. Among the fashion cognoscenti, Lagerfeld and Chanel were equally renowned for their shows—and their ability to fully transport their guests to a fantasy world—as for their designs.

English photographer Simon Procter received unprecedented access to Lagerfeld’s SEPTEMBER 2019 143

“He was very, very funny. Many times whoever was standing next to him could be seen giggling uncontrollably over something he had whispered to them.�

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shows for Chanel, and has now collected 75 of his best images in a new book, Lagerfeld: The Chanel Shows (Rizzoli, Sept. 2019). In the works for many years before Lagerfeld’s passing, the book includes never-before-seen candid photos of Lagerfeld and of models preparing backstage, as well as panoramic shots of Lagerfeld’s notoriously theatrical shows, some with multiple exposures meticulously stitched together to incredible effect.

“I had prepared a presentation of the book but Karl just waved it aside, saying, ‘I don’t need to see, I know all of the works, they are wonderful, your work is wonderful, the

Backstage at Chanel’s Haute Couture Spring/Summer 2010 show, held at the Pavillon Cambon Capucines in Paris.

book will be wonderful,’” Procter recalls of an early meeting with Karl.

In the preface, along with the story of how he began shooting the shows, Proctor also reveals his personal impressions of Lagerfeld during their many meetings. “The two things I remember most were that he always personally greeted everyone in the room. The other, that he was very, very funny. Many times whoever was standing next to him could be seen giggling SEPTEMBER 2019 145

“His words were full of optimism and intimacy.

Then music soared and the show began. At the end, some were crying, others were cheering, and all were up in a standing ovation.�

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© L A G E R F E L D : T H E C H A N E L S H O W S BY S I M O N

uncontrollably over something he had whispered to them.”

Procter also provides his personal recollections of each show he photographed, from Haute Couture Spring/Summer 2004 to the Fall/Winter 2019 Ready-to-Wear show that transformed the Grand Palais into the snow-capped chalets of an Alpine ski resort—the final show designed by Lagerfeld, following his death by two weeks. “There was a minute of silence that ended suddenly with his voice filling the vast space—an excerpt from an old interview of him discussing his ideas and hopes for Chanel. His words were full of optimism and intimacy. Then music soared and the show began. At the end,

Chanel transformed Le Grand Palais in Paris into a Mediterranean villa for the Haute Couture Spring/Summer 2019 show.

some were crying, others were cheering, and all were up in a standing ovation,” Procter remembers.

To the very end, each Chanel show served to evoke a sense of wonder at this great man’s theatrical genius.

“Karl Lagerfeld worked very hard for a long time,” Proctor writes, “and rarely dwelled on the past; he made people laugh and was polite to the point of graciousness. I think we can all learn something from that.” u SEPTEMBER 2019 147

K E L LY

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THE YOUNG & THE GUEST LIST

BY BROOKE KELLY

Kate Usher performing at Armarium’s party at the Surf Lodge.

Clockwise from top left: Sydney Sadick and Elise Taylor at Armarium’s party at the Surf Lodge in Montauk with Missoni; Nausheen Shah; Jayma Cardoso, Trisha Gregory, and Sasha Benz; Charlotte Groeneveld, Sarah Hoover, and Sharri Loeffler; Casey Freemont, Jessie Randall, and Violet Gaynor.

ARMARIUM’S SUMMER SOIRÉE AT THE SURF LODGE

CO U RTE S Y O F B FA

ON A PICTURE PERFECT summer evening, Armarium hosted

a celebration at the Surf Lodge in Montauk in collaboration with Missoni. The occasion toasted the best of summer fashion and the escalating partnership between the luxury rental platform and Italian fashion house. “We are thrilled to celebrate Armarium’s continued partnership with Missoni, extending the life cycle of these iconic pieces and reinforcing Armarium’s position as a leader in the shared economy sector,” said Trisha Gregory, who co-founded Armarium

with Alexandra Lind Rose. Missoni, which also boasts an extensive home collection, decked the Surf Lodge with its colorful beach towels, cushions, and candles for a sit-down dinner. In addition to Gregory, guests—most of whom donned Missoni—included Ottavio Missoni, Jr. and Jennifer Missoni, Charlotte Groeneveld, Sarah Hoover, Jessica Hart, Erica Pelosini, Arielle Charnas, Violet Gaynor, Jessie Loeffler Randall, Sasha Benz, Casey Fremont, Stephanie Gottlieb, Marisa Hochberg, and Jayma Cardoso.

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From left: Julianne Moore and Abby Quinn at the Cinema Society’s afterparty for the screening of After the Wedding at The Crown at 50 Bowery; Ashley Haas; Alysia Reiner and David Alan Basche.

▲ PREMIERE OF AFTER THE WEDDING

▼ LOUIS XIII COGNAC’S PARTY IN JERSEY CITY

THE CINEMA SOCIETY celebrated the release of drama After

TO CELEBRATE its 100 Years campaign, Louis XIII Cognac hosted a party on Manhattan Yacht Club’s bar afloat the Hudson River in Jersey City. Thinking a century ahead and considering the detrimental effects of global warming, the project revolves around a song by Pharrell Williams set to be released in 2117— only if steps have been taken to rescue the planet. Until then, the composition will remain in a safe, which was showcased for the first time ever at this special event. Partygoers supporting the cause included Famke Janssen, Gretchen Mol, Brendan Fallis, Peter Sowagi, and more.

the Wedding with a screening at the new Regal Essex theater on the Lower East Side. The film centers around Isabel (Michelle Williams), who runs an orphanage in the impoverished town of Calcutta, India. With the orphanage’s funding at an all time low, Isabel travels to New York to meet with a potential financial benefactor, Theresa Young (Julianne Moore)—yet her motives are instantly unclear. After the screening, guests, including Williams and Moore, enjoyed an after party at The Crown at Hotel 50 Bowery.

From left: Emma Conn, Peter Sowagi, and Carmen Tsang at Louis XIII Cognac’s 100 Years party at in Jersey City; Meghan Gumer and Sarah Pallack; Saheedat Abdul and Gretchen Mol. 150 QUEST

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W Clockwise from top left: Ilene Joy Scheer and Kate Bock at Ilene Joy’s party at Gurney’s Montauk Resort & Seawater Spa; Louis Caiola and Barron Hilton; Ryan and Pamela Tick; Marina Ingvarsson, Daphne Groeneveld, and Astrid Baarsma; Sabrina von Walderdorff, Tessa Hilton, and Marie-Caroline Caiola.

CO U RTE S Y O F B FA

ILENE JOY CELEBRATES SUMMER AT GURNEY’S MONTAUK RESORT & SEAWATER SPA YOU CAN ALWAYS count on Gurney’s for a fun night out, and last month, the resort was Ilene Joy’s venue of choice for a late summer cocktail party benefiting Animal Haven.

To kick off festivities, guests were flown into Montauk by a helicopter provided by Fly Foxtrot. Upon arriving at The Beach Club at Gurney’s, partygoers were treated to a cocktail hour with canapes while perusing collections from Joy’s namesake jewelry line, followed by a silent auction featuring the brand’s one-of-a-kind pieces—among them

was Zoe Kravitz’s wedding earrings. Although the line just debuted this year, it has already received widespread praise and a high profile following, including its campaign face, Poppy Delevingne, and Sienna Miller. Later on, DJs Barron and Tessa Hilton performed for the crowd before Pamela Tick took to the stage. Guests included Joy’s daughter and partner Rae Scheer, Jane Krakowski, Kate Bock, Daphne Groeneveld, Megan Williams, Flaviana Matata, Marina Ingvarsson, and Allie Rizzo. u SEPTEMBER 2019 151

SNAPSHOT

WITH THE close of summer marked by Labor Day on Monday, September 2nd, the fashion industry gears up once again for another official show season, beginning with New York Fashion Week. This year’s NYFW will be slightly different than seasons past.

As announced by the Council of Fashion Designers of America, NYFW will adhere to a shorter, more streamlined and compact schedule— with only six days of shows, rather than the usual seven to nine. On Friday, September 6th, NYFW kicks off with a “performance” by Telfar at 6 p.m., and culminates with Marc Jacobs at 6 p.m. on Wednesday, September 11th. Many familiar faces and brands will return to the NYFW runway, including Ralph Lauren, Carolina Herrera, Zimmerman, Oscar de la Renta, and Michael Kors, among others. Some of the most noteworthy looks in fashion history happened during the 90 years of the Academy Awards, and with that in mind we look forward to the upcoming Oscars on February 9, 2020. From Audrey Hepburn’s auction-worthy Givenchy frocks and Grace Kelly’s Edith Head head-turners, to Gwyneth Paltrow’s pink Ralph Lauren dress that was cited as “one of the greatest dresses in the history of the red carpet of the Oscars” and the Dior gown in which Jennifer Lawrence famously tripped on her way to the stage, we’re taking a look back at 90 years of Oscar -winning dresses from the biggest night in Hollywood.

—Elizabeth Meigher 152 QUEST

T H E O LI V ER G AL A RT I ST CO . AT O LI V ER G AL . CO M

WINNING DRESSES

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